Mahavira Jain Vidyalay Suvarna Mahotsav Granth Part 1

Author(s): Mahavir Jain Vidyalaya Mumbai
Publisher: Mahavir Jain Vidyalay
Catalog link: https://jainqq.org/explore/012002/1

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1304 bAravijaya zrI mahAvIra jaina vidyAlaya suvarNamahotsava graMtha mI (mahAvIra na viNGE dae NROLM zrI mahAvIra jaina vidyAlaya prakAzana dilioninternational

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zrI mahAvIra jaina vidyAlaya suvarNamahotsava graMtha mApa

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pUjya AcArya zrI vijayavalabharIdhara 9 mahArAja

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bhavijaya / zrI mahAvIra jaina vidyAlaya suvarNamahotsava graMtha zrI mahAvIra jaina vi ghA la ya prakAzana

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SHRI MAHAVIR JAINA VIDYALAYA GOLDEN JUBILEE VOLUME PART I Published by SHRI MAHAVIRA JAINA VIDYALAYA Gowalia Tank Road Bombay 26 1968 Price : Rs. 35 PRINTED IN INDIA By V. P. Bhagwat at Mouj Printing Bureau, Khatau Wadi, Bombay 4 and Published by Chandulal Vardhman Shah, Manubhai Gulabchand Kapadia and Jayantilal Ratanchand Shah, Hon. Secretaries, Shri Mahavira Jaina Vidyalaya, Gowalia Tank Road, Bombay 26

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sanyana-jJAna-zvAritrALa mokSamALA sonerI avasara (prakAzakanuM nivedana) navayugapravartaka AcAryapravara paramapUjaya zrI vijayavallabhasurIzvarajI mahArAjanI preraNA ane zrIsaMghanA - puruSArthathI, sane 1915mAM, muMbaImAM, mahAvIra jaina vidyAlayanI sthApanA thaI hatI. ucca zikSaNamAM AgaLa vadhavA icchatAM ApaNAM jarUriyAtavALAM vidyArthIo tathA vidyArthinIone Arthika tema ja bIjI savalato ApavAno vidyAlayano mukhya hetu che. sAthe sAthe jaina sAhityanA prakAzananuM paNa enuM eka dhyeya rahyuM che. ApaNI UcharatI peDhI, ucca zikSaNanA vikAsamAM, itara samAjethI pAchaLa na rahI jAya e mATe tyAre prayatna karavAnI khAsa jarUrI hatI. vidyAlayanI sthApanAthI e jarUriyAta, amuka aMze chatAM noMdhapAtra pramANamAM, pUrI thaI zakI che. 1946thI vidyAlayanI zAkhAonI sthApanAnI zubha zarUAta thaI ane zrIsaMghanA sakriya sahakArathI amadAvAda, pUnA, vaDodarA ane vallabhavidyAnagaranI zAkhAo astitvamAM AvI, jene lIdhe vidyAlayanI dhyeyasiddhimAM vadhAre vega Avyo ema enI atyAra sudhInI kAryavAhInI vigato jotAM koIne paNa lAgyA vagara nahi rahe. pAMca dAyakA karatAM paNa vadhu lAMbA samaya daramyAna, ApaNuM umaMgI ane buddhizALI vidyArthIo tathA vidyArthinIone protsAhana ApIne, ucca zikSaNanA prasAra dvArA jaina samAjane samRddha tathA LI banAvavA mATe vidyAlaye je kaMI vinamra prayAsa karyo che te suvidita che. atyAra sudhImAM vidyAlaya vinayana, vijJAna, vANijya, ijanerI, dAktarI, khetIvADI, kAyadAzAstra vagere viSayonA 1,213 snAtako deza ane samAjane bheTa ApI zakyuM, potAnI maryAdA ke paristhitine kAraNe adhUrA abhyAse TA thayelA paMdaraso uparAMta vidyArthIone vidyAlayanA emanA abhyAsakALanA pramANamAM sahAya karI zakyuM, tema ja traNaso uparAMta vidyArthinIone ucca zikSaNa mATe noMdhapAtra pUraka sahAya ApI zakuM te A prayAsa ane samAjanA udAra sahakArane AbhArI che. sAhitya prakAzananA kSetre paNa vidyAlaye potAno yathAzakti phALo ApavAno prayatna karyo che ane chelle chelle, ApaNA badhAya pavitra mULa Agama graMthone, atyAranI

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cha : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI vaijJAnika saMzodhana-paddhati pramANe prakAzita karavAnI moTI yojanA vidyAlaye hAtha dharI che. vidyAlayanI aradhI sadInI A kAryavAhI zrIsaMgha ane vidyAlayanA saMcAlako saMtoSa ane gaurava laI zake evI che, ema jarUra kahI zakAya. sane 1965mAM vidyAlayanI AvI yazasvI kArakidIne pacAsa varSa pUrAM thayAM. zrIsaMgha mATe tema ja amArA mATe e vizeSa harSano prasaMga gaNAya. e prasaMganI yAdarUpe ame suvarNa mahotsava UjavavAno nirNaya karyo. A ujavaNIno amAro mukhya hetu mAtra utsavane khAtara utsava jevo AnaMda-pramoda karIne saMtoSa mAnI levAno nahi, paNa suvarNa mahotsava jevA sonerI avasara nimitte vidyAlayane vadhAre zaktizALI ane Arthika rIte vadhAre sadhdhara banAvavAno che. vidyAvistAra ane sAhityaprakAzane banne daSTie vidyAlayanA kAryakSetrane vadhAre vistRta banAvavAnI bhAvanA, saMsthAnI zakti ane saMpattimAM vadhAro thAya to ja bara AvI zake e saheje samajI zakAya evI bAbata che. tethI vidyAlayanA suvarNa mahotsavanI yojanA uparyukta muddAne dhyAnamAM rAkhIne taiyAra karavAmAM AvI. A yojanA be bhAgamAM vaheMcAyelI che : paheluM, ekavIsa lAkha rUpiyA jeTalo suvarNamahotsava nidhi ekatra karavAnuM karavo; ane bIjuM, ucca koTinI sAhityasAmagrIthI sabhara, sacitra ane kaLApUrNa suvarNamahotsava graMtha pragaTa karavo. suvarNa mahotsava nidhi ekatra karavA mATenA amArA prayatnomAM amArA sahakAryakara mitroe je niSThAbharyo ane avirata sahakAra Apyo ane amArA A badhA prayAsono zrIsaMghe je udAratAbharyo javAba Apyo enI vigato AlAdaka ane utsAhamAM abhivRddhi kare evI che. paNa ahIM to suvarNa mahotsava graMthanI vigato ApavI e ja prastuta che. suvarNamahotsava graMtha be bhAgamAM vaheMcavAmAM Avela che. pahelA bhAgamAM jainadharma ane saMskRtinAM judAM judAM aMgo upara prakAza pADatA te te viSayanA abhyAsI vidvAnonA abhyAsa pUrNa lekho, prAcIna zi95 ane citrakaLAnuM mahatva samajAvatI kaLAsAmagrI vagere ApavAmAM AvyAM che. graMthono AtmA to vidvAno ja che. Arthika, mudraNanI tema ja bIjI badhI sagavaDa hoya paNa vidvAnono sAtha na hoya to AvuM kArya zakya bane ja nahi. kAmonI bhIDa ane samayanI taMgInA atyAranA jamAnAmAM sahRdaya, niSNAta ane nAmAMkita vidvAnono sAtha maLI rahevo kaMI sahelo nathI. paNa vidyAlaya haMmezA A bAbatamAM bhAgyazALI rahyuM che. sane 1941mAM vidyAlayano rajata mahotsava UjavavAmAM Avyo tyAre pragaTa karavAmAM Avela "rajata mahotsava graMtha" vakhate tema ja sane 1956mAM saMsthAnA Adyapreraka AcAryadevanA parama upakAranA smaraNa nimitte pragaTa karavAmAM Avela "AcArya zrI vijaya valabhasUri smAraka graMtha" vakhate vidvAno vidyAlaya pratye kevI mamatAbharI lAgaNI dharAve che ane vidyAlayanA sAhityaprakAzananA kAryamAM kevI mAgI udAra sahAya Ape che eno ame pratyakSa anubhave karelo che. bhUtakALanA A AhalAdaka ane protsAhaka anubhavane baLe ame vidvAnono saMparka sAdhavo zarU karyo; ane, amane kahetAM AnaMda thAya che ke, ame A kArya mATe je je vidvAnanI pAse rUbarU ke patravyavahAra dvArA pahoMcyA emaNe svajanonI jema amane tathA amArI mAgaNIne umaLakApUrvaka vadhAvI lIdhA : vidyAlayanA nAma ane kAmanuM, eTale ke eNe prApta karela lokapriyatAnuM ja, A supariNAma hatuM. vidvAno sAthenI keTalIka prAthamika carcAvicAraNAne aMte, suvarNamahotsava graMthanA saMpAdana mATe judA judA vibhAgonI soMpaNI sAthe, nIce mujaba eka saMpAdaka-maMDaLa racavAmAM AvyuM: (1) DaoN. e. ena. upAdhya- kolhApura; saMpAdaka : prAkRta ane saMskRta sAhitya. (2) DaoN. harivallabha cunIlAla bhAyANI - amadAvAda; saMpAdaka: prAcIna gurjara sAhitya.

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nivedana : sAta (3) paM. zrI dalasukhabhAI mAlavaNiyA-amadAvAda, saMpAdaka : darzana ane dharma. (4) DaoN. bhogIlAla je. sAMDesarA-vaDodarA; saMpAdaka : ItihAsa ane purAtatva. 4) DaoNumAkAnta preta zAha - vaDodarA; saMpAdaka : zilpa-sthApatya ane kaLA. (6) zrI jayabhikhu- amadAvAda, saMpAdaka : prakIrNa (sAmAjika, dhArmika, aitihAsika, kathA vArtA, caritra, nibaMdha vagere) (7) DaoN. ramaNalAla cImanalAla zAha- muMbaI (8) zrI ratilAla dIpacaMda desAI- amadAvAda. (9) zrI kAntilAla DAhyAbhAI korA-muMbaI maMtrI saMpAdaka-maMDaLa. saMpAdaka-maMDaLanI racanAnuM kAma pUruM thayA bAda graMthamAM ApavAnAM lekho tathA citronI pasaMdagI tema ja vidvAnonI nAmAvali taiyAra karavA mATe saMpAdaka-maMDaLanI pahelI sabhA amadAvAdamAM tA. 20-9-1964nA roja maLI, jemAM badhAya vidvAno hAjara rahyA hatA. tyAM ja laMbANathI vigatavAra vicAravinimayane aMte graMthanI AkhI yojanAnI rUparekhA doravAmAM AvI. A pachI dezanA judA judA pradezonA tema ja videzanA amuka vidvAnone paNa AmaMtraNa mokalIne lekho mokalavAnI vinati karavAmAM AvI. amane kahetAM khUba harSa thAya che ke, Ano javAba paNa vidyAlaya jevI nAmAMkita saMsthA tathA vagadAra saMpAdaka-maMDaLane zobhe evo sAro maLyo che. sAthe sAthe graMthastha prAcIna citrasAmagrI mATe amadAvAdanA zrI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiranI tathA pUjyapAda AgamaprabhAkara munivarya zrI puNyavijyajInA potAnA saMgrahanI tema ja emanA hastakanA anya bhaMDAronI joIe te sAmagrI A graMtha mATe sulabha banI gaI. jAmanagaranA aMcalagacchanA bhaMDArano paNa amane sahakAra maLyo che. A rIte suvarNa mahotsava graMtha mATe lekho tathA citronI sAmagrI jema jema ekatra thatI gaI tema tema te, te te vibhAganA saMpAdaka vidvAnone ame mokalatA gayA. have graMthanuM mudraNakAma zarU karavAnuM hatuM, paNa te pahelAM saMpAdaka-maMDaLa e badhI sAmagrInuM saMkalana karI Ape e jarUrI hatuM. eTale A mATe saMpAdaka-maMDaLanI bIjI sabhA tA. 27-6-1965nA roja vaDodarAmAM vidyAlayanA makAnamAM bolAvavAmAM AvI ane A aMgenA jarUrI nirNayo levAmAM AvyA tema ja mudraNakArya zarU karavAnuM paNa nakakI karavAmAM AvyuM. A badhI vicAraNA ane kAryavAhIne aMte suvarNa mahotsava graMthano pahelo bhAga taiyAra thayo te praSTa karatAM ame khUba ja AhalAdanI ane kRtakRtyatAnI lAgaNI anubhavIe chIe. A graMthanA AkAraprakAra aMge ke emAMnI vAcanasAmagrI tema ja kaLAsAmagrI aMge, ame kaMI kahIe enA karatAM graMtha pote ja kahe e ucita che. ame to A prasaMge mAtra eTaluM ja IcchIe chIe ke vidyAlaye enA 'rajatamahotsava graMtha' tema ja "AcArya zrI vijayevallabhasUri smAraka graMtha" dvArA svaccha, sughaDa mudraNakAryanI tathA taMdurasta, abhyAsapUrNa ane vicArapreraka maulika vAcanasAmagrI ApavAnI je praNAlikA pADI che tenuM A graMthamAM paNa pUrepUruM jatana thayuM hoya. A graMtha A rIte taiyAra thaI zakyo eno sarva yaza graMthanA vidvAna saMpAdaka-maMDaLane ghaTe che. vidyAlaya pratye svajano jevI AtmIyatAnI lAgaNI dharAvatA A vidvAna mahAnubhAvonA ame eTalA badhA oziMgaNa banyA chIe ke emanA zabdothI AbhAra mAnavAnuM amAruM gajuM nathI; ame to eTaluM ja mAgIe chIe ke teonI vidyAlaya pratyenI AvI bhalI lAgaNI kAyama rahe.

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ATha : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava anya A graMtha mATe udAratApUrvaka lekho tathA citrasAmagrI mokalI ApanAra badhA vidvAnono ame aMtaHkaraNapUrvaka AbhAra mAnIe chIe. A graMthamAM prAcIna citrasAmagrI ApavAnuM amadAvAdanA zrIlAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira, jAmanagaranA zrI acalagarachanA jJAnabhaMDAra, pUjyapAda munirAja zrI puNyavijayajI mahArAjanA potAnA saMgraha tathA teozrI dvArA amadAvAdanA zrI devasAna pADAnA vimaLagacchanA bhaMDAra vagerenA sahakArathI zakya banyuM che. e saunA ame khUba AbhArI chIe. pUjya munirAja zrIpuNyavijayajI mahArAje to jANe emano samagra saMgraha amane soMpI ja dIdho hoya e rIte pUrI thI ame eno upayoga karI zakyA chIe. pUjya mahArAjazrInI AvI udAratA ane AtmIyatAbharI lAgaNI kyAreya vIsarI zakAya evI nathI. zabdothI emano AbhAra mAnavAno prayatna karavAne badale A prasaMge emanA upakAranuM smaraNa karIne ja saMtoSa mAnavo ucita lAge che. "mUDabidrInA jaina bhaMDAranAM prAcIna tADapatrIya citro" nAme lekhamAM ApavAmAM Avela cha chabIonA bloko muMbaInA prinsa oNpha velsa myujhiyame vAparavA ApyA che te mATe emanA AbhArI chIe. mauja prinTiMga nyUroe khUba khaMta, dhIraja ane cIvaTathI A graMthanuM svaccha ane sughaDa mudraNa karI ApyuM che, te mATe zrI bhAgavatabadhuo ane temanA sahakAryakartAono AbhAra mAnIe chIe. te uparAMta zrI zaMkararAva dAmale, zrI jIvanalAla jAnI, kuTa kapanAbena desAI 50 amRtalAla mohanalAla, paM. harizaMkara aM0 paMDyAnA graMthanA saMpAdana ane mudraNakAryamAM sahakArI thavA mATe AbhArI chIe. A graMthane samRddha karavAmAM aneka bhAIo ane bahenoe sahakAra Apyo che. e sarvano vyaktigata ullekha karavAne badale teono aMta:karaNapUrvaka AbhAra mAnIe chIe. suvarNamahotsava graMthanA bIjA bhAgamAM vidyAlayano itihAsa tema ja lokopayogI sAhitya pragaTa karavAnAM che. e bhAga paNa taiyAra thaI rahyo che ane enuM prakAzana paNa taratamAM ja karavAmAM AvanAra che. A bIjA bhAga aMge amAre je kaMI kahevuM che te ame emAM kahIzuM. A prakAzanamAM je kAMI kSati rahI javA pAmI hoya ke mudraNadoSa rahI gayo hoya to te mATe ame saukoInI kSamA yAcIe chIe. ATalA prAsaMgika nivedana sAthe ame A graMtha vidvAnonA ane zrIsaMghanA karakamaLamAM bheTa dharIe chIe, ane Avo graMtha prakAzita karavAno sonerI avasara amane maLyo te aMge amArI khuzAlI vyakta karavA sAthe paramakRpALu paramAtmAno upakAra mAnIe chIe. govALIA Tenka roDa muMbaI 26 piSa zukla pUrNimA vi. saM. 2024 tA. 15-1-1968 caMdu lAla vardhamAna zAha manubhAI gulAbacaMda kApaDiyA jayaMtIlAla ratanacaMda zAha mAnada maMtrIo zrI mahAvIra jaina vidyAlaya

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Preface SHRI Mahavira Jaina Vidyalaya, Bombay, is celebrating its Golden Jubilee; and in that context this Volume is published by its authorities. During the last fifty years, this Vidyalaya has bestowed immense benefit on its inmates for their education as well as socio-moral welfare. It runs a number of Vidyarthigrihas in some of the important towns of Western India, and its inmates, rich and poor, are being looked after for all these years. Their number is pretty large. Many of them have creditably settled down in their life after successfully completing their academic career, especially in the fields of higher education. In addition to the legitimate activities of the Vidyalaya, the authorities have also devoted their attention to the publication of important works of Jaina literature which happens to be a neglected branch of Indian learning. This Institution has among its objects the researches in and publication of Jaina literature. It is well known that the Ardhamagadhi canon with its commentaries in Prakrit and Sanskrit is an important branch of early Indian literature; and it contains a vast amount of literary and cultural material, so far not fully studied and absorbed in the progress of Indic studies. This Vidyalaya has undertaken a critical edition of the canon; and this work is going ahead under the benign guidance of Muni Shri PUNYAVIJAYAJI in whom we have a pious saint and a scholar of great repute who has devoted his entire life to the cause of piety and learning. With the cooperation of Pandit Dalsukhbhai Malvania and a number of scholars this project is progressing well. The entire series of the Ardhamagadhi canon would be printed on specially made paper containing extra rag contents for longer durability with library binding. In this series the

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dasa : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha First Volume containing the texts of the Nandi-sutra and Anuyogadvarasutra is ready. The Second Volume consisting of the Prajnapana is in the press. This Vidyalaya has so far published a number of books some of which may be specially mentioned here. The Commemoration Volume in honour of Acharya Shri VIJAYAVALLABHASURI (Bombay 1956) contains valuable material; and it has been warmly received both in India and outside. Lately, a revised edition of the Kavyanusasana of Hemacandra is brought out by the Vidyalaya; and the authorities of the Vidyalaya can legitimately feel proud that they have presented to the world of scholars a standard edition of this great work on Indian poetics. The Vidyalaya completed fifty years of its beneficial career on June 5, 1965. While commemorating this occasion, the Institute is bringing out this Golden Jubilee Volume. Even a glance through its contents will convince anybody that it presents a number of original articles by eminent scholars. The Editors are happy to have secured the valuable cooperation of these learned authors working in different branches of Jainological in particular and of Indological studies in general. This Volume contains papers in three different languages: in Gujarati, in Hindi and in English. They cover topics from various. branches of study. Welcome light is shed on authors and dignitaries like Haribhadra, Sthulabhadra, Siddhasena, Sripala, Vastupala, Kanakakusala, Hemacandra, Yasovijaya, Megharaja, Hemaratna and others; as well as on some topics connected with the works like the Pramanamimamsa, Yogabindu, Parasika-prakasa, Vasudharadharani, Bhagavadgita, Kuvalayamala and Bhagavati-sutra. Philosophical topics like jnana, pratyaksa, sat-asat, atman, parinama, anekanta, kala etc. have been dealt with in some of the articles. In some essays are discussed Jaina dogmatical topics like prayascitta, samlekhana, etc. Some papers are occupied with the study of Prakrit philology and Jaina literature. There are others dealing with Jaina history, art and archaeology. The multi-coloured and black and white reproductions of many important paintings from early Jaina manuscripts provide an interesting data not only to the art critic but also to the student of early history of art, for its development and varied influence. On behalf of myself and other editors, I record my sincere thanks. to the various scholars who so kindly responded to our invitation and enriched this Golden Jubilee Volume by their learned papers. Secondly, I thank my colleagues on the Editorial Board for their cooperation in this work. Last but not the least, the authorities of Shri Mahavira

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nivedana : agiyAra Jaina Vidyalaya deserve our sincere gratitude for their kindness in undertaking the publication of this volume: they have earned hereby the punya of Jnanaradhana. I should specially mention the name of Shri CHANDULAL V. SHAH who piloted this scheme with great enthusiasm. Further, our special thanks are due to Shri KANTILAL KORA, who steadily pursued this project; and if this Volume could be published so soon and in such a neat form as this, the major part of the credit has to go to him. We are thankful to the Mouj Printing Bureau, Bombay, for all the cooperation given to us in seeing this volume through the press. Dhavala VIII, Rajarampuri Kolhapur: 1-1-1968 A. N. UPADHYE

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SHRI MAHAVIRA JAINA VIDYALAYA Golden Jubilee Volume Editorial Board DR. ADINATH NEMINATH UPADHYE, M.A., D.Litt. Pr. DALSUKHBHAI MALVANIA DR. BHOGILAL J. SANDESARA, M.A., Ph.D. DR. UMAKANT P. SHAH, M.A., Ph.D. DR. HARIVALLABH C. BHAYANI, M.A., Ph.D. DR. RAMANLAL C. SHAH, M.A., Ph.D. SHRI 'JAYABHIKHKHU' SHRI RATILAL DIPCHAND DESAI SHRI KANTILAL D. KORA, M.A. (Secretary) suvarNamahotsava graMtha saMpAdaka maMDaLa DaoN. AdinAtha neminAtha upAdhe, ema.e., DI.liTa. paM. dalasukhabhAI mAlavaNiyA DaoN. bhogIlAla ja sAMDesarA, ema.e., pIeca.DI. DaoN. umAkAnta pre. zAha, ema.e., pIeca.DI. DaoN. harivallabha cubhAyANu, ema.e., pIeca.DI. DaoN. ramaNalAla cI. zAha, ema.e., pIeca.DI. zrI "jayabhikhu" zrI ratilAla dIpacaMda desAI zrI kAntilAla DAhyAbhAI korA, ema.e. (maMtrI)

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anukramaNikA gujarAtI vibhAga s 1. haribhadrasUrinuM jJAnataravaciMtana rasikalAla choTAlAla parIkha, adhyakSa, bho. je. vidyAbhavana, amadAvAda 2. dharmasaMgrahavRttimAM AvatA eka avataraNanuM mAM TibeTana graMthane AdhAre mULa sthAna 3. pramANa mImAMsAmAM pratyakSanI carcA Do. jitendra jeTalI, ema.e., pIeca.DI., adhyakSa, dvArikAdhIza ekeDemI, dvArikA 14 4. AgamayuganA vyavahAra ane nizcayanayo paM. dalasukhabhAI mAlavaNiyA, nyAyatIrtha, adhyakSa, lA. da. vidyAmaMdira, amadAvAda 20 5. sata-asata che. paM. sukhalAlajI saMghavI, DI.liTa. ane DaoN. nagInadAsa zAha, ema. e., pIeca.DI., upAdhyakSa lA. da. vidyA maMdira, amadAvAda 6. ahiMsA paramo dharma upendrarAya ja. sAMDesarA 7. pApanuM mULaH parigraha manasukhalAla tArAcaMda mahetA 8. aMtarAtmadarzana phattecaMda jhaverabhAI zAha 9. yogabindunA TIkAkAra koNa? munizrI jaMbuvijyajI 10. siddharAja jayasiMha ane kumArapAlano prajJAcakSu DaoN. bhogIlAla ja, sAMDesarA, ema, e. rAjakavi zrIpAla pIeca.DI., adhyakSa, prAcyavidyAmaMdira, vaDodarA 11. vaDanagarano nAgara jaina saMgha 50 amRtalAla mohanalAla bhojaka, prAkRta TesTa sosAyaTI, vArANasI 12 puNayaloka vastupAlanA jIvana upara keTaloka kanaiyAlAla bhAziMkara dave prakAza 13. zatruMjayamAhAsyanAM bhaugolika to Do. amRta paMDyA, ema.e., pIeca.DI., purAtatvavida, vallabhavidyAnagara

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cauda : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava yatha 14. amadAvAdanI sthApanAno samaya DaoN. hariprasAda zAstrI,ema.e.,pIeca.DI, upAdhyakSa, bho. je. vidyAbhavana, amadAvAda - 105 15. ghoghAnA aprakaTa jaina pratimAlekho DaoN. kAntilAla phUlacaMda somapurA, ema.e., elaela.bI., pIeca.DI. ane DaoN. navanItalAla AnaMdIlAla AcArya, ema.e., pIeca.DI. eca. kaoNleja, amadAvAda . 111 16. aMbaDakathAnA AMtarapravAho DaoN. somAbhAI pArekha, ema.e., pIeca.DI., prAcyavidyAmaMdira, vaDodarA 118 17. karachanA rAjakadhi yatizrI kanakakuzaLajI dulerAya kArANI 124 18. caturvizati jinastuti DaoN. zivalAla jesalapurA, ema.e., pIeca.DI., AcArya, desAI sI. ema. kaoNleja, viramagAma 130. 19. gujarAtI sAhityamAM jaina bhaktikAvyo pannAlAla rasikalAla zAha, bI. koma. 135 20. libhadraviSayaka gaNu phAgukAvyo prA. jayaMta koThArI, ema.e. siTI ArTsa kaoNleja, amadAvAda 21. yazovijayanI kavitA prA. hasita habUca, ema.e., AcArya, dharmendrasiMhajI ArTsa koleja, rAjakoTa 160 22. ANaMdasaMdhi 50 ramaNIkavijayajI mahArAja 166 23. vAcaka megharAjakRta nala-davadaMtI carita DaoN. ramaNalAla cImanalAla zAha, ema.e., pIeca.DI. senTa jheviyarsa kaoNleja, muMbaI 173 24. azakyane zakya karI batAvavAno paDakAra jhIlatA DaoN. janaka dave, ema.e., pIeca.DI. 5tnI : eka madhyakAlIna kathArUDhi kizanacaMda celArAma kaoNleja, muMbaI 196 25. madhyakAlIna gujarAtanA mukhya jaina sAhityakAro prAvijayarAya kalyANarAya vaidya, ema.e., bhAvanagara 204 26. pArasIka prakAza' nAmanA phArasI bhASAnA 50 becaradAsa jIvarAja dozI, risarca | zabdakozano ane te ja nAmanA phArasI bhASAnA prophesara, lA. 60 vidyAmaMdira, amadAvAda 209 vyAkaraNano paricaya 27. nAsitha pachI vyaMjanAgama ane sArUpya DaoN. harivallabha cUnIlAla bhAyANI, ema. e., pIeca. DI, adhyakSa, bhASAzAstra, gujarAta yunivarsiTI 219 28. gujarAtanuM lokajIvana DaoN. maMjulAla 20 majamudAra, ema.e., pIeca.DI. 223 29. gujarAtI bhASAnA dvirukta zabda ane temanuM che. prabhAzaMkara rAva tereyA, ema.e., vargIkaraNa pIeca.DI., bhASAranuM 230 147

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30. chatthIparitrA 31, jaina gaNita ane tenI mahattA 32. haThIsiMhanuM daheruM 33. virahiNIno eka anubhAvizeSa 3. puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekho 36. sUbidrInA jaina bhaMDAranAM prAcIna tADapatrIya citro ravizaMkara ma. rAvaLa prA0 hIrAmana 20 pAhe, bha. o., adhyApaTu, mesa. mena.DI.TI. yunivarsiTI 272 goza-jAhala-pahabhanI sthA-yauSadha 34. jaina kavi zrI hemariicata vIragAthA AcArya muni zrIjinavijayajI, purAtattvA yArya, adhyakSa, rAjasthAna, pryyvidyaapratiSThAna, jodhapura AgamaprabhAkara munizrI puNyavijayajI sarayU vinoda dozI, ema.e. 1. bhAratIya darzanameM AtmavAda 2. jaina dharmakA prasAra aitihAsika racanAe~ 4. digambara paramparAmeM AcArya siddhasena sAdhvI zrI nirmalAzrI, ema. e. DaoN0 ke0 riSabhacandra, ema. e., pIeca. DI., sIniyara risarca oNphisara, lA. da. vidyAmaMdira, amadAbAda 3. kharatara gacchake AcAryoM sambandhI katipaya ajJAta agaracaMda nAhaTA : bha~varalAla nAhaTA 5. gvAliyara - durgake kucha jaina mUrti-nirmAtA eva mahAkavi dhU 6. mer3atAse vijaya jinendrasUriko vIramapura preSita sacitra vijJaptipatra 7. apabhraMza- sAhitya 8. jaina purANa sAhitya hiMdI vibhAga 9. pArasanAtha kilAke jaina avazeSa DaoN. luIMga AsaoNph, seminAra phaoNra dhanDiyana ra harAbharga; anu0 : Do0 aruNodaya lanI, bha.je., pI.DI. rIDara ina saMskRta, phaeNkalTI oNpha arTasa, ma. sa0 yunivarsiTI, vaDodarA oN narasiMha mULajIbhAI zAha, mema. sI., pIyeya. DI., AyArya, sAyansa kaoNleja, kapaDavaMja anukramaNikA : paMdara paM0 kailAzacandra zAstrI AcArya, syAdvAda digambara jaina mahAvidyAlaya, vArANasI DaoN0 rAjArAma jaina, ema. e., pIeca. DI., eca. DI. jaina kaoNleja, ArA bha~varalAla nAhaTA 237 DaoN0 kRSNadatta bAjapeyI, adhyakSa, prAcIna bhAratIya itihAsa, saMskRti aura sthApatya vibhAga, sAgara yunivarsiTI 261 268 286 303 331 1 v 8 25 37 DaoN0 devendrakumAra jaina, ema. e., pI.ecaDI. 65 DaoN0 ke. RSabhacandra, ema. e., pIeca. DI., sIniyara risarca oNphisara, lA. da. vidyAmaMdira, amadAbAda 43 49 71 81

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soLaH zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha English Section 1. A Comparative Study of the Jaina Dr. Indukala H.Jhaveri, M.A., Ph.D., and the Samichya-Yoga Theories Head of the Deptt. of Sanskrit, H. K. Arts College, Ahmedabad 1 of Parinama 2. Anekanta and Madhyama-Prati- Dr. Nathmal Tatia, M.A., D.Litt., Director, Prakrit Jain Institute pad Vaishali 3. Svabhavavada (Naturalism): A Dr. V. M. Kulkarni, M.A., Ph.D., Head of the Deptt. of Sanskrit, Study Govt. Arts College, Amravati 10 4. The Logical and the Historical Dr. K. K. Dixit, M.A., Ph.D., Significance of the Jaina Philo- L. D. Institute of Indology, sophical Tradition Ahmedabad 5. Vasudhara-dharani: A Buddhist Dr. Padmanabh S. Jaini, M.A., Ph.D., work in use among the Jainas of Prof. of Pali, University of Michigan, U.S.A. Gujarat 6. 'A Saint like That' and 'A. Dr. Gustav Roth, Saviour' in Prakrit, Pali, Sanskrit Indologisches Seminar Univerand Tibetan Literature sita, Gottingen, Germany 46 7. Nature of Time Dr. Nagin J. Shah, M.A,, Ph.D., Deputy Director, L. D. Institute of Indology, Ahmedabad 8. The Religious' Prayascittas accord- Dr. Madame Colette Cailat, ing to the old Jaina Ritual 92, Sevres, France 9. Jaina Phraseology in the Prof. K. H. Kamdar, M.A., Bhagavadgita Baroda 10. Ramagiri in Jaina Literature Dr. V. V. Mirashi, M.A., Ph.D., Head of the Deptt. of Sanskrit, Nagpur University 124 11. Jainism in Ancient Bengal Dr. R. C. Majumdar, M.A., Ph.D., Ex-Vice Chancellor, University of Dacca 130 12. On Samlekhana or Suspension of Dr. Nathmal Tatia, M.A., D. Litt., Aliment Director, Prakrit Jain Institute Vaishali 139 13. Jaina Sculptures of the Gupta R. C. Sharma, M.A. Age in the State Museum, Asstt. Curator, Archaelogical Lucknow Section State Museum, Lucknow 143 14. Jainism in Mathura in the Early Dr. Baij Nath Puri, M.A., B. Litt Centuries of the Christian Era (oxon); D. Phil (oxon), Professor of Indian History & Cultire National Academy of Administration, Mussoorie 156

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anukramaNikA : sattara 15. Some Inscriptions and Images on Pandit Ambalal Premchand Shah, Mount Satrunjaya Vyakaranatirtha, L. D. Institute of Indology, Ahmedabad 162 16. The Kuvalaya mala and Modern Dr. A. N. Upadhye, M.A., D. Litt., Scholarship Dean, Faculty of Arts, Shivaji University, Kolhapur 170 17. Jainism in Jayantbhatta's Agama- Dr. Anantlal Thakur, M.A., Ph.D., dambara Prof. Institute of Jainology, Vaishali 175 18. Genuineness of Uttaradhyayana- Prof. J. P. Thaker, M.A., sutra IX. 34-36 Research Officer and Post Graduate Teacher in Prakrit & Sanskrit, M. S. University, Baroda 179 19. Sanskrit Naka-s : Gothic Nehw-s Prof. Dr. Vittore Pisani, Universita, Degli Studi Di Milano 185 20. The Non-inflected Genitive in Dr. S. N. Ghosal, M.A., D. Phil., Apabhramsa Calcutta University 187 21. Some Interrogative Particles in Prof. L. A. Schwarzschild, Prakrit Mooroolbark, Australia 204 22. Hemacandra and the Linguistic Dr. Prabodh B. Pandit, M.A., Ph.D., Tradition Head of the Linguistic Deptt., Delhi University 210 23. Glimpses of Jainism through M. L. Nigam, M.A., A.M.A. (Lond.), Archaeology in Uttar Pradesh F.R.A.S, Deputy Keeper, Salar Jung Museum, Hyderabad 213 24. Sindhu-desa of Jaina Literature Dr. Yogendra Mishra, M.A.,Ph.D. is Tirabhukti (North Bihar) Head of the Deptt. of History, Patna College, Patna 221 25. The Jaina and Non-Jaina Versions Dr. Ramesh N. Jani, M.A., Ph.D. of the Popular Tale of Candana- Prof.and Head of Department Malayagiri from Prakrit and other of Gujarati, Parle College, Bombay 225 Early Literary Sources Dr. J.C. Sikdar, M.A., D.Litt., L. D. Institute of Indology, Ahmedabad 233 26. A Brief Survey of Phonetics and Grammar as found in the Bhaga- vati Sutra 27. Ancient Indian Palace Archi- tecture 28. Maladevi Temple of Gyaraspur Dr. V. S. Agrawala, D.Litt. 242 Dr. Krishna Deva, M.A., Ph.D., Superintending Archaeologist, Northern Circle, Archaeological Survey of India, Dehradun (U.P.) 260

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aDhAra : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava pratha 29. Fragments of the earliest Eastern Prakrit Grammarians (Sakalya, Mandavya, Kohala, and Kapila) 30. Jaina Bronzes in the Patna Museum 31. Some Early Jaina Temples in Western India Dr. Satya Ranjan Banerjee Dr. Hari Kishore Prasad, M.A., Ph.D. Asstt. Curator Patna Museum, Patna M. A. Dhacky, Research Associate, The American Academy of Benares Varanasi 32. New Documents of Jaina Paintings Dr. Moti Chandra, M.A., Ph.D., (Lond.), Director, Prince of Wales Museum of Western India, Bombay; Dr. Umakant P. Shah, M.A.,Ph.D., Deputy Director & Head of the Ramayana Department, Oriental Institute, M. S. University, Baroda Editor, Journal of the Indian Socety of Oriental Art. FE 270 275 290 348

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citra paricaya mukhAcitra : pUjya AcAryapravara zrIviyavallabhasUrIzvarajI mahArAja . gujarAtI vibhAga 304 305 1 vikramanA 14mA saikAmAM vaDanagaranA nAgara jaina saMghe nArAyaNA(vartamAna narenA. rAjasthAna)mAM virAjatA AcArya zrI vijayaprabhasUrijI upara lakhela vijJapti patranA citravibhAgano aMtima bhAga 2-3 vAnagaranA nAgara gRhastha AMbAe vi. saM. 1547mAM lakhAvela sacitra kalpasUtranA prazastivALA aMtima (130 mA) patranI banne bAju tIrthAdhirAja zatragirivara uparathI, vAdhaNa poLanA samArakAma daramyAna, tAjetaramAM maLI Avela mahAmaMtrI vastupAlanA vi. saM. 1288 nA be zilAlekho pikInA pahelo zilAlekha 5 tIrthAdhirAja zatruMjayagirivara uparathI, vAghaNa poLanA samArakAma daramyAna, tAjetaramAM maLI Avela mahAmaMtrI vastupAlanA vi. saM. 1288 nA be zilAlekho pikIno bIjo zilAlekha 6-11 citra-1: be goLAkAra suzobhano, kaSAyapAhuDa, mUDabikI, bAramI sadInA pUrvArdha, 68-547 se. mI. citra-2 : bAhubalI, kaSAyapAhuDa mUDabikI, bAramI sadInA pUrvArdha, 68547 se. mI. citra-3 : caturbhujAdevI, mahAbalpa, mUbikI, bAramI sadInA pUrvArdha, 72547 se. mI. citra-4: siMhAsanasthadevI ane cAmaradhAriNIo kaSAyapAhuDa, mUbikI, bAramI sadIno pUrvArdha, 68547 se. mI. citra-pa: aMbikA, kaSAyapAhuDa, mUDabiddha, bAramI sadInA pUrvArdha, 68*547 se. mI. citra-6H savarNa yakSa (?), kaSAyapAhula, mUDabikI, bAramI sadInA pUrvArdha 68547 se, mI, 333 333 333

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vIsaH zrI mahAvIra jaina vidyAlaya suvarNamahotsava prastha hindI vibhAga 8-7 fa. #. CEU, As steigt i engel HTA-TJETTA)sthita tapAgacchake AcArya zrIvijaya jinendrasUriko bheje gaye vijJaptipatrakA citravibhAga English Section 1 Pedestal of the image of Lord Mahavira dated S. 299 (No. J. 2, State Museum, Lucknow) Detail of the inscription giving date on Fig. 1 2 Jaina Image from Mathura (J. 139, State Museum, Lucknow) 3 Colossal Jaina Image from Mathura (No. JO. 72, State Museum, Lucknow) 4 Tirthankara Image (No. J. 121, State Museum, Lucknow) 5 Jaina Image from Laharpur (No. 0. 181, State Museum, Lucknow) 6 Jaina Image (J. 119, State Museum, Lucknow) 7 Jaina Image from Mathura (No. J. 104, State Museum, Lucknow) 8 Image of Varddhamana from Mathura, d. G. E. 113 (No. J. 36, State Museum, Lucknow) 9 Part of a Parikara, Jaina Image (No. J. 89, State Museum, Lucknow) 10 Jaina Image (No. 48.184, State Museum, Lucknow) 11 Jaina Image (No. 49.199, State Museum, Lucknow) 144-145 Fig. 1 Fig. 2 Fig. 3 Fig. 4 Image of Pundarikasvami, satrunjaya (d. V. S. 1064) Sculpture of Sresthi Narayana, satrunjaya (d. V. S. 1131) Image of Mahisamarddini, satrunjaya (d. V. S. 1371) Sculpture representing Minister Samarasimha and his wife (d. V. S. 1414) Jaina Metal Sculpture, Satrunjaya. 168-169 Fig. 5 1 Yaksini from Mathura, 2nd Century A. D. 2 Pedestal of the image of Munisuvrata 3 Image of Tirthankara from Sitapur, Gupta Period 4 Sarvatobhadra (two-faced) Image of Tirthankara, 9th Century A. D., Sarai Aghat (Etah) 5 Parsvanatha from Mahoba (12th Century A. D) 216-217

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i fa 42 : &dizi 1 South Facade of Sikhara, Maladevi Temple, Gyaraspur 2 Decoration of the South Facade, Maladevi Temple, Gyaraspur 3 Decoration of the South Facade, Maladevi Temple, Gyaraspur 4 Ardhamandapa (Entrance Porch), Maladevi Temple, Gyaraspur Ceiling and Architraves of the Mahamandapa, Maladevi Temple, Gyaraspur 6 A Pillar of the Mahamandapa, Maladevi Temple, Gyaraspur 264-265 Fig. 1 Fig. 2 Fig. 3 Fig. 4 Fig. 5 Fig. 6 Fig. 7 Fig. 8 Detail of lower part of bronze Dharmacakra from Chausa Detail of upper part of bronze Asoka-tree from Chausa Rsabhanatha, bronze from Chausa Parsvanatha, bronze from Chausa Rsabhanatha and Mahavira, from Aluara Parsvanatha in a shrine from Aluara Ambika, bronze from Aluara Rsabhanatha, bronze from Aluara 280-281 1 Back view, south, Mulaprasada, Mahavira temple, Osia 2 The Sikhara and the Phamsana, Mahavira Temple, Osia 3 The Western Bhadra balcony, Mahavira temple, Osia 4 Torana, Mahavira temple, Osia 5 South facade, Devakulika No. 1, Mahavira temple, Osia 6 Devakulika No. 5, Mahavira temple, Osia 7 Devakulika Nos. 2 and 4, Mahavira temple, Osia 8 A pillar, bhramantika, Mahavira temple, Varman 9 Pilasters, bhramantika, Mahavira temple, Varman 10 East face, Mahavira temple, Ghanerav 11 South face, Mahavira temple, Ghanerav 11 A South side, Mulaprasada, Mahavira temple, Ghanerav 12 Mukhamandapa, Mahayira temple, Ghanerav 13 Samatala Vitana, Mukhamandapa, Mahavira temple, Ghanerav 14 A Ksipta Vitana of Nabhicchanda Order, Mahavira temple, Ghanerav 15 A Ksipta Vitana Order, Mahavira temple, Ghanerau 16 A Ksipta Vitana of Sabhamarga Order, Mahavira temple, Ghanerav 17 Gudhamandapa, Mahavira temple, Sewadi 18 Bhumija Sikhara of the Mahavira temple, Sewadi 19 Back view, Neminatha temple, Nadol 20 Back view, Mulaprasada, Parsvanatha temple, Sadri 21 Back view of the Sikhara, Parsvanatha temple, Sadri

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bAvIsa : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava yathA 22 Gudhamandapa, West face, Paravanatha temple, Sadri 23 Mulaprasada temple of Padmaprabha, Nadol 24 Mulaprasada with Gudhamandapa, temple of Padmaprabha, Nadol 336-337 Coloured Plates Fig. I. Birth of Mahavira, Folio 36B, Kalpa-sutra and Kalaka-katha, dated 1346 A.D., Collection of Muni sri Punyavijayaji Fig. II. Bharata looking into a mirror and obtaining the Highest Knowledge, Folio 153A, Satrunjaya Mahatmya, c. 1420 A.D., Collection of L. D. Institute of Indology, Ahmedabad Fig. III. Vajra in his cradle, Folio 107A, Kalpa-sutra, dated 1490 A.D., Collection of L. D. Institute of Indology, Ahmedabad Fig. IV. Marriage of Candraprabha, Folio 126B, Candraprabha Caritra, dated 1498 A.D., Collection of L. D. Institute of Indology, Ahmedabad Fig. V. Dancers and Musicians, Folio 7B, Laghu-Samgrahani, dated 1583 A.D., Collection of Muni Sri Punyavijayaji Fig. VI. Six Lesyas, Folio 23 A, Laghu-Sangrahani, dated 1583 A. D. Fig. VII. Some episodes from the story of Jayaghosa, Folio 40A, Uttaradhyayana-sutra, c. 1600 A.D.. Collection of Muni Sri Punyavijayaji Fig. VIII. Incidents from the story of the monk Metarya, Folio 52B, Upadesamala, late 17th or early 18th century A.D., Devasano Pado Bhandara Fig. IX. Story of Purna Sresthi who turned into a Hindu monk, Folio 69 B, Upadesamala, late 17th or early 18th century A. D. Fig. X. Installation ceremony of Bharata Cakravartin, Folio 198 A, Jambudvipa-prajnapti-prameya-ratnamanjusa-tika, c. 1606 A.D., Collection of Muni Sri Punyavijayaji Fig. 1 Fig. 2 Fig. 3 Birth of Mahavira, Folio 36B, Kalpa-sutra and Kalaka-katha 1346 A.D. Fourteen dreams of Devananda, Folio 3A, Kalapa-sutra and Kalaka-katha, 1346 A.D., Collection of Muni Sri Punyavijayaji Kalakacarya with four-handed Indra, Folio 132 A, Kalpa-sutra and Kalaka-katha, 1346 A.D. Kalaka and Garddabhila, Folio 43, Kalaka-katha, c. 1430 A.D., Collection of Muni Sri Punyavijayaji Defeat and captivity of Garddabhila, Folio 12B, Kalaka-katha, c. 1430 A.D. Fig. 4 Fig. 5

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citra paricaya : trevIsa Fig. 6 Varsikidana and Diksa of Santinatha, Folio 111A, Santinatha Caritra, 1396 A.D. (?), Collection of L. D. Institute of Indology, Ahmedabad (Upper panel) Bhima holding court, (Lower panel) Bhima consulting his queen, Folio 2 B, Damayanti-kathd-campu, 14001425 A.C., Collection of L. D. Institute of Indology, Ahmedabad Fig. 8 Evils resulting from idleness and procrastination, Folio 7A, Uttaradhyayana-sutra, 1492 A.D., Collection of Muni Punyavijayaji Sri Fig. 9 Kesi and Gautama conversing, Folio 46B, Uttaradhyayana-sutra, 1492 A.D. Fig. 7 Fig. 10 Kamakandala suffering the pangs of separation, Folio 13A, Madhavanala-kamakandala-katha, 1493 A.D., Collection of Muni Sri Punyavijayji Fig. 11 Vikramaditya fighting with the army of Kamasena, Folio 24B, Madhavanala-kamakandala-katha, 1493 A.D. Fig. 12 Fig. 13 Fig. 14 Yaksa on Ramagiri, Folio 4B, Meghaduta, dated 1669 A.D., Collection of L. D. Institute of Indology, Ahmedabad Fig. 15 The lamentation of Rati, Follo 24A, Kumarasambhava, dated. 1644 A. D., Collection of L.D. Institute of Indology, Ahmedabad. Fig. 16 Dancing and music in Indra's Court, Folio 21B, Laghu-Samgrahani, dated 1583 A.D., Collection of Muni Sri Punyavijayaji Fig. 17 The Jewels of Vasudeva, Folio 32B (Lower panel), LaghuSamgrahani, dated 1583 A.D. Game of Gendi-dadd, Folio 4A, Kalpa-sutra and Kalaka-katha, dated 1501 A.D., Collection of Anchalagaccha, Jamnagar Obstacles in the path of Jaina monks and nuns, Folio 78B, Kalpa-sutra and Kalaka-katha, dated 1501 A.D. Fig. 18 Representation of the Siddhasila, Folio 33B, Loghu-Samgrahani, dated 1583 A.D. Fig. 19 Some symbols, Folio 35A, Laghu-Samgrahani, dated 1583 A.D. Fig. 20 Illustrations of Samsthanas, Folio 17A, Samgrahani Sutra, dated 1587 A.D., Collection of Muni Sri Punyavijayaji Detail of Fig. 23 (Middle panel enlarged) Fig. 21 Fig. 22 Obstacles in the ways of monks, Folio 4B, Uttaradhyayanasutra, c. 1600 A. D., Collection of Muni Sri Punyavijayaji Fig. 23 The parable of the bull, Folio 43B, Uttaradhyayana-sutra, c. 1600 A. D. Fig. 24 Incident from the story of Bahubali, Folio 10A, Upadesamala, c. late 17th or early 18th century A. D., Devasano Pado Bhandara, Ahmedabad

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covIsa : zrI mahAvIra jaina vidyAlaya suvarNamahotsava thaW g. 25 Some incidents from the story of Sahasramalla, Folio 82B, Upadesamala, c. late 17th or early 18th century A. D. Fig. 26 The story of Aranikaputra, Folio 112A, (Upper panel enlarged) Upadesanala, dated 17th or early 18th century A. D. Fig. 27 Detail from the Vijnaptipatra from Sirohi, dated 1737 A. D., National Museum, New Delhi An illustration from Durga-Saptasati. Folio 5A, Durga-Saptasati, written in Surat, dated 1719 A. D., Prince of Wales Museum, Bombay Fig. 29 Krsna playing the flute, Folio 28A, Ktsna-veli, c. 1650 A.D., Collection of Muni Sri Punyavijayaji Fig. 30 An incident from the life of Muni Ardrakumara, Folio 11B, Ardrakumararasa, late 17th century A. D., Collection of Muni Sri Punyavijayaji Fig. 31 The hell-tortures, Folio 41B, Samgrahani-sutra, dated 1650 A.D., Collection of the L. D. Institute of Indology, Ahmedabad Fig. 32 Seven modes of Self-immolation, Folio 30A, Samgrahani-sutra, c. 1675 A. D., Collection of Muni Sri Punyavijayaji Fig. 33 Actors and pole-dancers, Folio 37B, Candaraja-rasa dated 1655 A. D., Collection of Muni Sri Punyavijayaji Fig. 34 The battle between the minister Sumati and King Hemaratha, Folio 35A, Candarajano rasa, dated 1659 A. D., Collection of L. D. Institute of Indology, Ahmedabad Fig. 35 Haribala meeting Dhivara, Folio 4A, Haribala Caupai, dated 1687 A. D., Devasano Pado Bhandara, Ahmedabad Fig. 36 An illustration from Naladamayanti Katha, c. 17th century A. D., Prince of Wales Museum, Bombay Fig. 37 An illustration from Madhavanala-Kamakandala Katha, c. 17th century A.D., Collection of Muni Sri Punyavjiayaji Fig. 38 Nala driving the chariot of Rtuparna, Naladavadanti-Rasa, late 17th A. D., Collection of Muni Sri Punyavijayaji Fig. 39 An illustration from the Naladavadanti-Rasa, late 17th century, Collection of Muni Sri Punyavijayaji Fig. 40 Virasena and his queens going out for a picnic, Folio 12A, Candaraja-Rasa, Poona, dated 1812 A. D., Collection of Muni Sri Punyavijayaji 400-401 On the Cover Santinathji' from an old manuscript of Sri Santinathcaritra, S. 1453 (?), Collection of L. D. Institute of Indology, Ahmedabad

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gujarAtI vibhAga

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haribhadrasUrinuM jJAnatattvaciMtana rasikalAla choTAlAla parIkha bhAratanAM prAcIna ciMtakomAM vaidika jaina-bauddhamAM AcArya haribhadranuM (I. sa. 701thI 771) ciMtana "viziSTa prakAranuM che. A prAcIna sUri paratve Adhunika vidvAno ane ciMtakoe pUratuM dhyAna ApyuM nathI,-e viSe paMDita DaoN. sukhalAlajIe temanAM Thakkara vasanajI vyAkhyAnomAM yogya rajUAta karI che. AcArya haribhadra viSe je kathAo paraMparAmAM UtarI AvI che temAMthI temanuM jIvana paNa vizeSa koTinuM tarI Ave che. janma, saMskAre ane zikSaNe brAhmaNa evA e mevADavAsI paMDita yAkinI mahattA nAme jena sAthvInA dharmapatra banyA ane potAne vinattarakUna nAme prasiddha karavAmAM gaurava lIdhuM,-e uttejita kare evI emanI jIvanaghaTanA che. e prasaMga viSenI kathAmAM je sacavAyuM che tenA karatAM emAM ghaNuM vadhAre hovuM joIe ema aitihAsika pratibhAne phuraNa thAya evo e prasaMga che. paMDita Do. sukhalAlajIe vasanajI vyAkhyAnamALAmAM AcArya haribhadranA bauddhika jIvananI talasparzI ane vizada samAlocanA karI che. temaNe haribhadrane "samadarzI' evuM birudR ApyuM che. A samadarzIpaNuM AcArya haribhadramAM anubhavanI kaI bhUmikAmAMthI, jJAnanA kayA kSetramAMthI udbhavyuM saMbhave eno vicAra karavAno mAro prayatna che; jo ke paMDitajIe kahyuM che tenAthI bIjuM kAMI kahevAnuM thaze ema lAgatuM nathI; phakta mArI potAnI samaja mATe A eka prakAranuM spaSTIkaraNa che. A dArzanikanI tArkikatAmAM jIvanaprANa rapharato dekhAya che. - lAgaNuone bAju upara rAkhI prasarato vicArapravAha zuSka thAya te e yogya kahevAya--evI zuSkatA ane karkazatA enuM lakSaNa bane e Avazyaka gaNAya; chatAM A tarkavyAyAmanuM paNa jIvanalakSya sutra graM1

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2 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava nya hoya che; ane te satyaprAptinuM. philasUphInA itihAsamAM aneka nAnAmoTA ciMtakonA vicArapravAho cAlyA Ave che. te viSe aneka "grahone kAraNe ciMtako rAgadveSathI mukta rahI zaktA nathI, ane kaSAyathI kaluSita thayelI AvI tarkaparaMparA satya joI zakatI nathI; to vaLI kevaLa zraddhAnA jore vicAra karanArA e zraddhA mATe hetuo zodhavAnA prayatnane sArthaka gaNatA nathI. Ama matamatAra pravartamAna rahe e anivArya che, paraMtu satyazodhakano mata rAgadveSathI prerAyelA svIkAra ke tyAgathI dUSita thayelo na hoya, ane satyajijJAsumatine hetupUrvakatAthI saMtoSa Ape evo hoya e iSTa che! AnuM spaSTa bhAna zrI haribhadrasUrine dArzanika tarkajAlamAMthI nIkaLavAnA prayAsamAM thayuM lAge che. hetupuraHsara tarka cAle e to A brAhmaNa paMDitanI sahaja ruci Avazyaka gaNe, paNa satyajijJAsAnI mathAmaNa ene sUcave ke A badho prayatna mati rAgadveSaprerita pakSapAtathI mukta rahI zake eTalA mApamAM ja saphala thAya, arthAta satya phalA AcArya haribhadra lokatatvanirNaya graMtha racatAM utAra kayo ke- pakSapAto na me vIre na dveSaH kapilAdiSu / yurimAnaM caca tatya : paripradu || 28' (pR. 98). A udagAra ane tenI AgaLa-pAchaLanA zlokomAM vyakta thayelI bhAvanAo kevA manomanthanamAMthI prakaTa thaI haze e jANavAnAM pramANa maLavAM azakyavata che; paNa jemaNe thoDoka paNa satyanI lAlasAthI mUMjhAIne cintanaprayAsa karyo che temanI kalpanAmAM e manomaMthana na Ave evuM nathI. - AcArya haribhadranuM ciMtana "yuktimattAthI aTakatuM nathI. samatvapUrvaka hetuyukta vicAraNA karyA chatAM paNa matamatAntara rahe che; AvAM matAntara rahevAnuM kAraNa zuM? philasUphInA ItihAsamAM A prazna upasthita thayA ja kare che. svasthatAthI pravartatI tatvajijJAsA paNa AvAM matAntaro TALI zakatI nathI. suprasiddha jarmana philasUpha kAnTane A prazna khUba mUMjhavyo hoya ema lAge che. potAnI pUrvanAM philasUphonAM tattvajJAnonI samAlocanA karatAM ene ema dekhAyuM ke teo parasparanA tattvajJAnane khaMDita karatA hoya che. A parasparakhaMDana badhAM rAgadveSathI nahi; keTalAkanuM to hetupUrvaka tarkathI thayeluM dekhAyuM haze. A virodhanA nirAkaraNane zodhatA ene ema lAgyuM haze ke Avo parasparavirodha aparihArya che, ethI kAne A jAtanA tarkapravAhane vistAratI "mati ("rIjhana')nI maryAdAo tapAsavAnuM ciMtana karyuM, je enA "kriTika oNpha yora rIjhana mAM pallavita thayuM che. je parama tatvo viSe philasUphoe ciMtanaprayAsa karyA che, ane jene viSe teo ekamata ke saMmata thaI zakatA nathI te "rIjhana'("mati)nI zakti bahAranA che evA abhiprAya upara e Avyo. kAla, AkAza, di, kAryakAraNubhAva-A tattvone ati siddha karI zake nahi, temane gRhIta karIne ja mati AgaLa cAle che; eTale dika, kAla, kAraNakAryabhAva AdinAM uparanI bhUmikA jo koI hoya to te matine agrAhya che. eTale je padArtho svabhAvathI ja matine agrAhya che temane viSenuM cintana kevI rIte nirNacakoTinuM bane? AthI ja dikAlAdithI para evA padArthone AtmA, Izvara, AcAradharma Adine mati siddha na karI zake, temane AsthAthI (pheIthathI) svIkArIne ja mANase cAlavuM joIe. jJAnatatvanA A nirUpaNa pramANe Indriyo dvArA prApta thatI sAmagrIne dikakAla ane kArya 1 vIramAM pakSapAte nA, nA dveSa kapilAdimAM hetusaMgata je bole, ghaTe svIkAra tehano. yo. bi* TIkA. pR 16 yuvasthA-upavA; kR0 21 yu idetA

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haribhadrasUrinuM jJAnatattvaciMtana : kuM kAraNutvanA cokaThAmAM mUkI mati jJeyatA arpe che. A jJAna te empirikala naoNleja. ndriyo dvArA jemanI sAmagrI maLatI nathI evA viSayo jo hoya to te mati jJAnanI bahAra che. A vicArasaraNI AgaLa vadhatAM ajJeyavAda(agnosTisijhama) ane jJAnopaplavavAda(skepTisijhama)ne prakaTa kare che. emAMthI khacavAnI icchA, vijJAnanuM saMbhAvyatAnuM (praoNbiliTinuM) dhoraNa UbhuM kare che. paNa vijJAna(sAyansa) atIndriyajJAnane avagaNe che; to khIjI dizAmAM atIndriya viSayo paratve AsthA ane indriya viSayo paratve matisaMgata tarkavAda-rezanAlijhama-no mArga svIkArIne sAMsArika ane pAralaukika vyavahAra sugama banAvAya che; arthAt sAMsArika vyavahAra indriyo dvArA maLatI sAmagrIne mati je jJAnarUpa Ape tene AdhAre cAle che, dhArmika ke pAralaukika vyavahAra paraMparAgata ke pote vicArapUrvaka svIkArelI AsthA(pheItha) upara nirbhara che.ra A vicArasaraNIomAM eka bAbata saMmata che H AtmA, Izvara Adi viSayo matigamya nathI,-- bhale emane AsthAno viSaya khanAvo. e AsthAno AdhAra zAstragraMtho che, zAstragraMthonI prAmANikatAno AdhAra te IzvaraprakAzita che athavA sarvajJabhASita che evI koI mAnyatA upara che. paraMtu AvI mAnyatA paNu AsthAne ja avalaMkhe che. AvI samagra vicArasaraNI mATe paNa matamatAMtara aparihArya che; kAraNa ke mANasa potAnI indriyazaktinA ane buddhizaktinA mApamAM maLatA jJAnane potAnuM jJAna samajI pratyakSavat vyavahAra kare; paraMtu AsthA e parokSa che. ene paraMparAnA baLe mAnava vaLagI rahe--arthAt ke rAgadveSane AdhAre--potAnI paraMparAgata AsthA sAcI, bIjAnI jUDI, e rIte. 'kajiyAnuM moM kALuM' evuM vyavahArabhIrupaNuM athavA * A kahe che e sAcuM ane te kahe che e sAcuM ' evA prakAranuM matimAndhu eka prakAranuM mAdhyasthya ke samatva prakaTAvI zake che ane ene vaLagI rahI zake che, ane vyavahAramAM jhagaDA TALI zake che. khIjuM eka mAnasika samatva paNa saMbhave che: ekre vicArasaraNI sarvAMga sAcI nathI, darekamAM aMzataH satya arthAt vyavahArakSamatA hoya che ane vyavahArakSama te satya eTale koI eka vicArasaraNIe bIjI koI vicArasaraNI upara AkramaNa karavuM nirarthaka che-- evA khyAla paNa samatva rakhAvI zake che. A badhuM samatva AbhAsa che, samatva nathI. sAcuM samatva to vastusatyamAM evuM darzana thAya ke vyavahAramAM vividha ane viruddha dekhAtuM aviruddha che, eka che. ema e dekhAya to ja samatva sahaja rIte Ave. paraMtu A jAtanA darzanane pAzcAtya jJAnatattvanI philasUphImAM (episTenaoNlaoNjImAM) sthAna nathI. ene misTisijhama nAme kAM to AvakAryuM che ke bahudhA avagaNyuM che. hakIkatamAM indriyagamya viSayasAmagrI uparathI matie UpajAvelA jJAnanI (empirikala naoNlejanI) A mA~dA che; ane jeo emAMthI bahAra jaI zakatA nathI athavA emAM ja saMtuSTa che te badhAnI A maryAdA che; ' AsthA'ne emAM sthAna ApI amuka AzvAsana meLavI AtmA, Izvara, satya, dharma Adi padArthono vyavahAra joke karI levAya che. paraMtu emAM koI satyapratiSThAnuM darzana che ema kahevAya nahi. 2 zabdArtha tattvanA pRthakkaraNa upara UbhI thayela eka vicArasaraNI meTAjhiksa mAtrane non-sense arthAta * anarthaka ke vyartha ' gaNe che. 3 sahaja astitvanI koegjhisTansanI vartamAna rAjakIya vicArasaraNIno eka AdhAra A tattva che; khInne AdhAra e ke--' joke amArI sAmyavAdI ke mUDIvAdI lokazAhI ja sAcI che, chatAM hiMsAtmaka jhagaDAmAM atyAranI sthatimAM sarvanAza hovAthI parasparane pRthvI upara sAthe jIvavAM devAM ane vicArasaraNIone potAnuM balAbhala prakreTa karavA devuM, vicAranI bhUmikA upara ja, bhautika baLanI nahi,'

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4: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha bhAratIya vicArasaraNImAM jJAnatattva para aneka pravAho che. eka vaheNamAM kevaLa indriyapratyakSano svIkAra, bIjAmAM atIndriyapratyakSano paNa svIkAra ane eka ke banne pratyakSo upara AdhAra rAkhI cAlatA anumAnano svIkAra; trIjA vaheNamAM anirvacanIyatA ke avaktavyatA, ane vaLI cothAmAM upalavavAda. dArzanika haribhadrasUri A badhA vAdomAM UMDA UtarelA che. emaNe emanI anekAntajayapatAkA A vAdonuM avagAhana karI pharakAvI che. paraMtu jJAnatattvanA nirUpaNamAM svasaMskRtimAM amuka paraMparA hovI e eka bAbata che, tenuM kuzaLa paMDito avagAhana kare e apekSita che. to emAMthI kuzaLa ciMtako enI pramANabaddha vyavasthA kare aMzonA svIkAra-parihAra kare, athavA ane emAMthI potAnA anubhavane satya lAge evuM tAratamya yoje jI bAbata che. emAMthI jIvanadaSTi ke ciMtanadRSTi prakaTa kare e vaLI trIjI bAbata che. haribhadrasUrie A trividha prakAre bhAratIya tattvaciMtananuM parizIlana karyuM che. AcArya haribhadranAM cittavikAsanAM sthAnako jANavAnI ApaNI pAse koI svataMtra purAvA nathI. paraMtu emanA grantho uparathI aTakaLa karavAnI chUTa lauM to mane ema lAge che ke emanA ciMtanAtmaka jIvananuM eka moTuM sthAnaka cuttimadbhavana carI tasya phAryaH paripra--e bhAvanAmAM vyakta thAya che; emAMthI atisaMgata vidhAnonA svIkAramAM rAgadveSaprerita pakSapAtane bAju upara rAkhavAM joIe e emaNe potAne mATe phalita karyuM haze. emane jinapratipAdita tattvajJAna svIkArya banyuM kAraNa ke e emanI buddhine saMgata lAgyuM. pote brAhmaNa hatA, vaidika darzanonA jJAtA hatA, kapilAdi munione zramaNa thayAM pahelAM AdarapUrvaka joyA haze, e Adara zramaNa thayA pachI paNa gayo nahi hoya! chatAM vIranuM vacana emane "yuktimata" lAgyuM eTale eno emaNe svIkAra karyo. emanA upAsya devanI kalpanA paNa A ja dhoraNe thaI che : tyaktasvArthaH parahitarataH sarvadA sarvarUpaM sarvAkAraM vividhamasamaM yo vijAnAti vizvam / brahmA viSNurbhavati varadaH zaGkaro vA haro (? jino) vaa| yasyAcintyaM caritamasamaM bhAvatastaM prapadye // 31 // 4 (Dhota0 ti) emanI matie A ane enI AgaLapAchaLanA zlokomAM kyA guNavALA deva "pUjya' che e zodhI kADhayuM che. emane nAmanI sAthe takarAra nathI. emanI mati pUjya devamAM amuka guNa mAge che ane amuka doSa tiraskAre che. paNa emanI mati ATaluM kahyA pachI eTaluM svIkAravA jeTalI prAmANika rahI che ke e upAsya devanuM carita "acinya ane "asama', "koInI samAna nahi, koInI sAthe sarakhAvI zakAya nahi" evuM che. paraMtu je "acinya che te jJAnano viSaya nathI ane je matijJAna ane enI "yukti no viSaya nathI tenI upAsanA karavI eTale AkAzakusumanI mALA paheravI. zrI haribhadrasUrine A ajJAta na hoya. e aciMtyasvarUpa indriyaviSayajJAna-nirbhara mahine 4 jeNe svArthano tyAga karyo che, je parahitamAM ramamANa che, sarvadA sarvarUpa, sakAra, vividha ane ekasarakhuM nahi evA vizvane vizeSe karIne jANe che, je brahmA hoya, viSNu hoya, varadAna karanAra zaMkara hoya athavA jina hoyajenuM asAdhAraNa ane aciMtya carita che tene huM bhAvathI bhajuM chuM.

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haribhadrasUrinuM jJAnatattvaciMtana : 2 acinya' kharuM, paNa emanI vicArayojanAmAM jJAnasAdhanonI maryAdA ahIM pUrI thatI nathI. emanA jJAnatatvanA nirUpaNamAM bIjI eka bhUmikA che--jyAM A "acinta" anubhavagocara thAya che, jJAta thAya che. zrI haribhadrasUrine jJAnanI A bIjI bhUmikA yogistAnamAM dekhAI che. emanAM yogaviSayaka graMthomAM A tatva tarI Ave che. AvA jJAnatatvanuM vivecana saMkSepamAM, paNa vizadatAthI, yogadaSTisamuccayamAM che; khAsa karIne "dIprA nAmanI cothI yogadaSTinA nirUpaNaprasaMge. emaNe bodhanA traNa prakAro pADyA che: buddhi, jJAna ane asaMmoha, buddhi e ikiyArthAzrayA-endriya ane Azraye pravartato bodha che. Agama arthAta te te viSayanA zAstragraMtho(AjanI bhASAmAM te te viSayanA sAyansa graMtho)mAMthI maLato bodha te jJAna; ane asaMmoha eTale sadanukAnathI, sAcA anachAnathI, kriyA karavAthI, prayogathI, thato bodha te asaMmoha. u0 ta., ratnano AMkhathI thato bodha buddhi, e rana che ema zAstrapUrvaka thato bodha e jJAna, ane tene prApta karI parIkSAthI nirNata thato spaSTa bodha e asaMmoha. buddhirjJAnamasamohastrividho bodha iSyate // 118 // indriyArthAzrayA buddhirjJAnaM tvAgamapUrvakam / sadanuSThAnavacaitadasaMmoho'bhidhIyate // 119 // ratnopalambhatajjJAnatatprAptyAdi ythaakrmm| ihodAharaNaM sAdhu jJeyaM buddhayAdisiddhaye // 120 // sadanoThAna.jenAthI asaMmoha bodha thAya tenAM cihna e ke iSTa padArtho viSe Adara-eTale ke khAsa prayatna--canAtizaya-te karavAmAM prIti, vividha rIte saMpattinI prApti (arthAta ISTarUpI saMpattinI prApti), ISTa viSe jijJAsA ane iSTanI sevA Adi. asaMmoha eTale ke koIpaNa jAtanA AvaraNathI rahita, spaSTa, svaccha, pratyakSabodha je anuSThAnathI-karmakriyAthI-prApta thAya tenAM A lakSaNa che? AdaraH karaNe prItiravighnaH sNpdaagmH| jijJAsA tannisevA ca sadanuSThAnalakSaNam // bodhanA A bhedo pramANe mAnavonA karmabhedo thAya che, arthAt indriyajJAnathI ja phakta vartanAranuM vartana ane sadanuSThAnarUpI prayogasiddhithI maLatA spaSTa jJAnathI vartanAranuM vartana-ekabIjAthI juduM paDI jAya che. tadbhedAt sarvakarmANi bhidyante sarvadehinAm // 118 // sAMsArika kama buddhipUrvaka hoya che--arthAta karmazAstranA jJAnapUrvaka thayAM hoya to kulayogione muktinuM aMga bane che (eTale ke je kulayogio nathI emane nahi); A jJAnapUrvaka karmo asaMmohathI thayAM hoya to te ekAnta parizaddha hovAthI nirvANanuM phala ApanArAM che. (124) AcArya haribhadra emanI A bodhamImAMsA saMsAra ane saMsArAtIta nirvANa tattva paratve ghaTADe che. paraMtu A saMsArAtIta atIndriya nirvANatajya kayA jJAnano viSaya banI zake e khulAso karavo hajI bAkI rahe che. te viSe temanuM pratipAdana che ke nizcayo'tIndriyArthasya yogijJAnAdRte na ca // 141 // nacAnumAnaviSaya eSo'rthastattvato mtH| - na vA nizcayaH sayacatrAvAjhuddIna | 242 ,, AcArya haribhadra dhIdhana-buddhidhana-kahetAM bhartuharino havAlo ApI kahe che ke A arthaviSaya tavadaSTayA

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6H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha anumAnano viSaya ja nathI. anumAnathI bIjI bAbatomAM paNa samyaga nizcaya thaI zakato nathI. atIndriyArthano to yoginAna vinA nizcaya che ja nahi. atIndriya viSayomAM anumAnane avakAza nathI kAraNa ke enAthI koI sarvasaMmata thAya evA nirNaya upara avAtuM nathI. AjanI paribhASAmAM kahIe to jevuM IndriyajJAnAvalaMbI bhautika vijJAnamAM sarvavaijJAnika saMmati tarapha javAya che, pratyakSatAnI kasoTIne kAraNa; tevuM e bhautika vijJAnanI pAchaLa kalpAtA tatvo ke niyamo eka prakAre, athavA bIje prakAre AtmA, Izvara, dharma Adi atIndriya padArtho ane emanI pAchaLa rahelA niyamo ke tavo, samasta vizvanuM tattva ke tattvo, niyama ke niyamo paratve saMmatinI dizA tarapha javAtuM nathI, kevaLa anumAnathI e dizA jaDatI nathI. kAnTane philasUphInI samAlocanAmAM bhinnabhinna meTAphijhiziyano parasparakhaMDana karatA dekhAyA, tema dhIdhana bhartuharine paNa dekhAyA lAge che. eno havAlo ApI AcArya haribhadra kahe che: "kuzaLa anumAtAo yatnathI amuka arthane anamita kare che, to bIjA vadhAre kuzaLa tArkiko ene bIjI ja rIte u5pAdita kare che. atIndriya padArtho je hetuvAdathI jaNAtA hota to ATalA kALamAM prANoe temano nizcaya karI lIdho hota." yatnenAnumito'pyarthaH kuzalairanumAtRbhiH / abhiyuktatarairanyairanyathaivopapAdyate // 143 // jJAyeran hetuvAdena padArthA ydytiindriyaaH| kAlenaitAvatA prAjJaiH kRtaH syAtteSu nishcyH||14|| AmAM zAstrapaMDita haribhadrano aMgata anubhava dekhAto nathI? paNa Avo nizcaya thayo nathI, tethI zuktakagraha, mithyAbhimAnano hetu thato hovAthI mahAna" moTo che, bhAre che, (TI. atiraudra) che. mumukSuoe ene choDI devo joIe : na caitadevaM yat tasmAcchaSkagraho mahAn / mithyAbhimAnahetutvAt tyAjya eva mumukSubhiH // 145 // haribhadrasUrinI jJAnatatvanI A mImAMsA che. upara ApaNe joyuM ke kAranI vicArasaraNI pramANe rIjhana (Reason)nI A maryAdA che. e rIjhana eTale ke indriyArthajJAna-nirbhara-anumAnaparaMparA, tarkaparaMparA. atIndriyaviSayo-AtmA, Izvara, dharma Adi mATe to pheItha (mAthA-goMpelanA zAstra upara AsthA) ja AlaMbana che. paNa zAstro parokSa che, AsthA parIkSa che. indriyajJAnamUlaka buddhi ke bodhano je atIndriyanuM nizcayajJAna to yogAnamAM ja che. Ama AcArya haribhadra indriya, Agama ane sadanuSThAnathI thatA anukrame buddhi, jJAna ane asaMmoha evA bodhanAM traNa prakAro kahepI indriyaviSayaka jJAna tathA tanirbhara ane tatparyavasAyI anumAnanuM eka kSetra kayuM. atIndriya mATe to indriyo nathI ja eTale anumAnathI eno tarka karI zakAya evo saMbhava rahe-jema jagatanA philasUpho karatA AvyA che. paNa haribhadrasUri dhIdhana bhartuharino havAlo ApI kahe che ke atIndriyArtha anumAnano viSaya ja na banI zake. atIndriya viSe je kAMI jANI zakAya to te yoginAnamAM ja. pazcimanI paribhASAmAM kahIe to misTikanA jJAnamAM. A rIte haribhadrasUrinI jJAnatatvanI mImAMsA IndriyajJAna, anumAna, Agama ane yogijJAnanI bhUmikAomAM vyApta thAya che, temane sAMkaLI le che. etatpradhAnaH sacchrAddhaH zIlavAn yogttprH| jAnAtyatIndriyAnarthAstathA cAha mahAmatiH // 10 // jemAM AsthA che evA Agamano mukhya AdhAra rAkhanAra satazraddhAyukta zIlavAna puruSa yogatatpara

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haribhadrasUrinuM jJAnatatvaciMtana : 7 thAya eTale atIndriya padArthone jANe che tema mahAmatie kahyuM che. mahAmati eTale pataMjalino havAlo ApI haribhadrasUri nIceno zloka Ape che, je emanI jJAnamImAMsAnA nIcoDarUpa che; ane tethI ja vAraMvAra emanAM anya graMthomAM Ave che: : ____ AgamenAnumAnena yogAbhyAsarasena ca / tridhA prakalpayan prajJAM labhate tattvamuttamam // 101 // 5 TIkA pramANe A krame-Agama, anumAna, yogAbhyAsa-rasavaDe prajJAne je keLave che te uttama tatvane pAme che. AmAM yogAbhyAsa chevaTe Ave che. Agama ane anumAnathI atIndriya padArthonI kalpanA karI hoya paNa tenA yathArthasvarUpanuM jJAna to yogamAM ja thAya. jinottama vIra paNa yogigamya che e emanA maMgalazlokamAM ja haribhadrasUri jaNAve che : natvecchAyogato'yoga yogigamyaM jinottamam / vIraM vakSye samAsena yogaM tadRSTibhedataH // 1 // AcArya haribhadranI yojanAmAM Agama athavA zAstra ane khuda yoga vaccenuM je tAratamya che te paNa noMdhavA jevuM che. pote vividha saMpradAyonA sAMkhyayoga-zaiva-pAzupata-"vedAnika bauddha-jainanA nabhava ane paddhatinA graMthonuM UMDuM avagAhana karyuM dekhAya che. yogamArganA emanA potAnA anubhave ane bIjAone doravAnI dRSTie temaNe svataMtra manana karI potAnI eka navI zailI ane navI paribhASA paNa racI che. yoganI ATha dRSTio e emanI potAnI sUjha che ema paMDita DaoN. sukhalAlajI kahe che te sAcuM che. e ja pramANe temaNe yogadaSTisamuccayanA prAraMbhamAM yoganA traNa prakAro pADyA che? icchAyoga, zAstrayoga ane sAmarthyayoga. yoga viSe kAMI jANyuM hoya te karavAnI IcchA thavI evI icchAvALAno-vikala arthAta adhUrI dharmayoga te IchAyoga. (lo. 3). zAstramAMthI je jANyuM hoya tenA tIvrabodhathI apramAdI zraddhALano yathAzakti dharmayoga te zAstrayoga. zAstramAM sAmAnya rIte upAya kahyA hoya che te prayogamAM mUkatA potAnI zaktinA udrakathI-prabaLatAthI-zAstranI upara jaI vizeSatAthI je dharmayoga thAya te sAmarthyayoga. traNamAM A uttama. shaastrsNdrshitopaaystdtikraantgocrH| zaktyudrekA vizeSeNa sAmarthyAkhyo'yamuttamaH // 5 // AcArya haribhadra kahe che ke siddhi padanI prAptinAM kAraNe tattvamAM zAstrathI jaNAtA nathI; yogiothI ja sarva prakAre jaNAya che. siddhAkhyapadasaMprAptihetubhedA na tattvataH / zAstrAdevAvagamyante sarvathaiveha yogibhiH // 6 // AgaLa jaI kahe che ke zAstrathI sarva prakAre siddhi thatI hota to za e sAMbhaLatAM ja evI siddhi thaI jAya. (7). paNa zAstra bhaNanArane evI siddhi thatI nathI tethI prAbhijJAnayukta sAmarthyayoga avAcya che; ane sarvajJatva Adi tattvonI siddhi enAthI thAya che. prAtibhajJAna eTale mAganusAranuM 5 Agame anumAne ne yogAbhyAsarase vaLI saMskAre je vidhA prajJA pAme te tatva uttama. 6 bharatanA nATayazAstramAM je ATha ke nava rasadio Ave che--jeno mUrtio ane citromAM paNa viniyoga thata hato te uparathI temanI ATha dauTanI paribhASA sUjhI hoya.

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8: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava prakRSTa Uha nAmanuM jJAna; athavA yogabindunI TIkA(zloTa para pR0 11ma)mAM kahyuM che tema sahaja pratibhAmAMthI jAgatuM jJAna. A pratibhajJAna paNa zrutajJAnano ja prakAra che, paNa viziSTa prakAranuM che. na caitadevaM yat tasmAt praatibhjnyaansNgtH|| sAmarthyayogo'vAcyo'sti sarvajJatvAdisAdhanam // 8 // A uparathI haribhadrasUrino mata spaSTa dekhAya che. zAstrayoga karatAM sAmarthyayoga ja uttama che. sarvajJatva Adi tatvo e sAmarthyayogamAM ja samajAya che. prApta thAya che. haribhadrasUrinA AMtarika vikAsano upara ullekha karyo. emAM eka sthAna yutima vana carcA tA H parijhaH--nuM che. yukti eTale hetupUrvaka vacana. A hetuvAdanuM vyavahAramAM sthAna kharuM. paNa haribhadrasUri je madhyasthatA-niSpakSatA-paM. sukhalAlajInAM zabdomAM-'samadarzana' vyakta kare che te to mukhyatve atIndriya padArthonA draSTAo paratve ja saMbhave, ane atIndriya padArthomAM hetuvAda cAlato nathI; emAM to yogAbhyAsarasa ane yogadaSTine ja avakAza che. arthAta haribhadrasurine je samatva prApta thayuM te temanA yoga prApta darzanane laIne hoya, ane e emanA vikAsanuM bIjuM sthAnaka yogadaSTa adhyAtma sthAnaka gaNAya. hetubaddha tarka, zIla, vairAgya, yogadarzananI pUrvaavasthAo kharI, paNa adhyAtmajJAna to yogadaSTa ja che; ane AvuM jJAna ja haribhadrasUrine sarvajJAnIomAM samatvanuM-ekatvanuM bhAna karAve che. pote A muddAnuM pratipAdana spaSTatAthI bhAra daIne pharIpharI yogadaSTisamuccayamAM kare che? na tattvato bhinnamatAH sarvajJA bahavo ytH| mohastadadhimuktInAM tadbhedAzrayaNaM tataH / / 102 // sarvajJo nAma yaHkazcit pAramArthika eva hi / sa eka eva sarvatra vyaktibhede'pi tattvataH // 103 // na bheda eva tattvena sarvajJAnAM mahAtmanAm / tathA nAmAdibhede'pi bhAvyametanmahAtmabhiH // 107 // saMsArAtItatattvaM tu paraM nirvANasaMjJitam / / taddheyakameva niyamAcchabdabhede'pi tattvataH // 127 / / sadAzivaH paraM brahma siddhAtmA tathateti ca / rAtretakuLaDakhyamevaimAlimiH || 128 ! ' jJAte nirvANatattve'sminnasaMmohena tattvataH / prekSAvatAM na tau vivAH 365te || 20 || sarvajJo bahu che ethI teo tatvamAM bhinnamata che ema nathI. adhimukti kahetAM bhaktono e to moha che, tethI sarvajJomAM bheda karAya che. sarvajJa je koI hoya te pAramArthika ja che. (kahevAnI khAtara kahelo nathI.) te sarvatra, vyakitabheda hovA chatAM, eka ja che (102-103)....sarvajJa mahAtmAomAM nAma AdithI bheda hovA chatAM tattvathI bheda ja nathI. mahAmatioe A samajhavuM joIe (107). saMsArathI atIta 7 yogadaSTi samuccayamAM Avato zakayukamAM " zakita' zabda ane A pratibhA' pratyabhijJA darzananI paribhASA che. 8 mukita pATha vimuno che. paMDita DaoN. sukhalAlajI sUcave che ke " adhimukti' (ke adhimukta) pATha hoya. e bauddha paribhASAno zabda che, eno artha zraddhALu ke "bhakta" evo thAya che,

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haribhadrasUrinuM jJAnatattvaciMtana : 9 evuM nirvANa nAmanuM tattva zabdabheda hovA chatAM (zabdabhedathI kahevAtuM chatAM) tattvamAM niyamathI eka ja che (127). sadAziva, para, brahma, siddhAtmA, tathatA-evA anvarthaka (bhinnabhinna) zabdothI te eka ja hovA chatAM ye kahevAya che. sadA kalyANakArI e sadAziva zaivonuM, para eTale pradhAna sAMkhyonuM, bRhatvamoTApaNAthI ane bRhaka-phUlatuM vardhamAna thatuM hovAthI brahma-vedAntInuM, siddhAtmA-AtmA jemane siddha thayo che evo siddhAtmA AhetanuM, kAlanA aMta sudhI te pramANe rahetI evI tathatA bauddhonuM--(A badhA) eka ja tatva che. bhinna zabdothI kahevAya che eTaluM ja (128). asaMmohathI (arthAta sadanuSThAnathIsakriyAthI yoganI) tattvarUpe A nirvANu tatvane jANatAM vicArazIla puruSomAM emanI bhakti viSe vivAda thatA nathI (130). vipra haribhadra-purohitane kadanI paMkti sad vipra vadugA vanti (ma1, sU0 164, 4. 46) aparicita to na ja hoya! A badhuM eka che chatAM temanI dezanAmAM-kathanamAM bheda kema Ave che teno khulAso karyA pachI haribhadrasUri kahe che ke je arvAgadazo hoya che (arthAta yogadaSTi jemanI UghaDI nathI evA-A tarapha jonArA-pelI tarapha jenArA nahiM) teo sarvajJano abhiprAya jANyA vinA temano pratikSepa kare che, te yogya nathI. te moTo anartha kare ema che (136); ane dAkhalo Ape che ke jema AMdhaLAoe karelo caMdrano pratikSepa asaMgata che tema adRzoe karelo sarvajJa bheda paNa asaMgata che (138). tadabhiprAyamajJAtvA na tato'rvAgdRzAM satAm / te talbati mAnartha: gharaka | zarU7 che. nizAnAthapratikSepo yathAndhAnAmasaGgataH / tadbhedaparikalpazca tathaivAgdRizAmayam // 138 // sarva Adi atIndriyArtha padArthono nizcaya yoginAna vinA saMbhavato nathI. tethI e viSenA vivAdo andhonA jevA hovAthI emAMthI kAMI phalita thatuM nathI.. nizcayo'tIndriyArthasya yogijJAnAdRte na ca / ato'pyatrAndhakalpAnAM vivAdena na kiJcana // 141 // A atIndriyartha sarvano viSe sAMpradAyikomAM je vivAda cAle che tenAthI haribhadrasUri para thaI zakyA che tenuM kAraNa arvAgdam tArkikamAMthI yogadaSTivALA AdhyAtmika thayA haze tene lIdhe haze; ane e daSTithI ja zuSka tarkano pote tyAga kare che eTaluM ja nahi paNa sarvatra "grahane asaMgata gaNe che kAraNa ke muktimAM lagabhaga badhA dhamAM tajavAnA hoya che, to pachI graha"nuM zuM kAma che ? grahaH sarvatra tatvena mumukSUNAmasaGgataH / muktau dharmA api prAyatyaktavyAH kimanena tat // 146 / / bhAratavarSanI paraMparAmAM vaidika, jaina ane bauddha tArkiko-samartha tArkiko-aneka thayA che, ema ja yogio, jJAnIo paNa aneka thayA che. paraMtu jJAnatattvanuM AvuM vizada vivaraNa karanAra bahu nahi hoya evuM mArA a5 jJAnane lAge che. haribhadrasUrie paramAtmadarzanano "mahatAM varte -moTAono mAgesUcavyo che--jeno Azraya laIne vicakSaNae nyAyapura:sara atikramothI bacI vartavuM? tadatra mahatAM vartma samAzritya vickssnnaiH| vartitavyaM yathAnyAyaM tadatikramavarjitaiH / / 147 / /

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10 zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha moTAono A mArga bhAratavarSamAM ja che ema nathI; pAzcAtya vicArakone paNa A mArga vyakta thayo che. "je para tArkika philasUpho paraspara judA paDe che, tatparatve misTika suphIo saMmata thAya che." epha. sI. hepoDa (F. C. Happold) enA "misTisijhama-adhyayana ane bhatasamuccaya" (Mysticism-A study and an Anthology) nAmanA graMthanA prAraMbhamAM A para potAno abhiprAya ApatAM kahe che ke "What, when one studies the mystical expressions of different religions, stands out most vividly, however, is not so much the differences as the basic similarities of vision. This is a phenomenon calling for explanation if any truly objective assessment of the significance of mystical experience is to be made." (p. 17). judA judA dharmonA miTikala vacanono jayAre koI abhyAsa kare che tyAre je bAbata bahu spaSTa rIte AgaLa nIkaLI Ave che te temanA bheda eTalA badhA nahi, jeTalI darzananI mUlagata samAnatAo. jo misTikala anubhavanA tAtparyanuM sAcuM vAstavika mUlyAMkana karavuM hoya to A hakIkatano khulAso zodhavo joIe." Ano khulAso haribhadrasUrinI jJAnatatvanI mImAMsAmAM che. atIndriyArthane viSaya karatA yogijJAnane jJAnamImAMsAmAM (Epistemology)mAM sthAna ApavAthI ja te thaze,-sivAya ke e anubhavone IndrajAlake mRgajala samuM mAnI avagaNIe !

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// zrI zaMkhezvarapArzvanAthAya namaH // dharmasaMgrahaNavRttimAM AvatA eka avataraNanuM TibeTana graMthane AdhAre mULasthAna cAkinImahattarAsUnu AcAryapravara zrI haribhasUrIzvarajI mahArAje dharmasaMgrahaNu nAmano prAkRta * bhASAmAM padyamaya graMtha racelo che. tenA upara AcArya zrI malayagirijI mahArAje vistArathI vRtti racelI che. zeTha devacaMda lAlabhAI jaina pustakoddhAra phaMDa (sUrata) taraphathI 39mA tathA 42mA graMthAMka rUpe vikrama saMvata 1973 tathA 1974mAM be vibhAgamAM A graMtha prakAzita thayo che. A mahAna graMtha mukhyatayA dArzanika nirUpaNathI bharapUra che ane tenI TIkAmAM malayagiri mahArAje dArzanika graMthomAMthI vipula pramANamAM avataraNe ApelAM che. A avataraNanuM mULa sthAna zodhavuM e aneka dRSTie upayogI ane rasaprada che. (1) ghaNI vakhata uddhata karelAM vAkyo eTalAM TaMkAM hoya che ke eno yathAvata artha samajavAnuM kArya kaThina thaI paDe che. mULa sthAnano je patto lAge to te graMthanA pUrvApara saMdarbhonuM nirIkSaNa karavAthI vAstavika artha sahelAIthI spaSTa samajAya che. (2) keTalIka vakhata uddhata karelo pATha kALakrame azuddha thaI gayo hoya che. mULa sthAnano patto lagAvAmAM tenA AdhAre pATha barAbara zuddha karI zakAya che. (3) keTalIka vakhata uddhata karelA saMkSipta vAkyano vistRta artha samajAto nathI. mULa sthAna je lakhyAthI Ave to te mULa graMthanI TIkA vagere hoya to tene AdhAre artha barAbara samajI zakAya che. (4) avataraNanA mULa sthAnano patto lAgavAthI AkhIye carcA kyA graMthane AdhAre karavAmAM AvI che e jaDI Ave che ane pachI tene AdhAre je viSayanI carcA cAlatI hoya te viSaya atyaMta vizada rIte samajAya che ane graMthakAre je graMthane sAme rAkhIne potAno graMtha taiyAra karyo hoya te graMtha sAme rAkhIne ApaNe jyAre vAMcIe tyAre vAcananI spaSTatA ane AnaMda koI judAM ja hoya che. (5) keTalAMka avataraNonuM vartamAna yuganI daSTie viziSTa mahatva che. jena dArzanika graMthomAM bauddha darzananA prAcIna graMthomAMthI keTalAye pATho uddhata karelA che. bauddha darzananA graMtho ghaNAkharA naSTaprAya thaI gayA hovAthI e pATho kyAMthI lIdhA che e jANavuM muzkela banI jAya che. keTalAka bauddha dArzanika graMtho naSTa

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12 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha thaI gayA hovA chatAM ye moTA pramANamAM evA graMtho che ke jenAM TibeTana bhASAmAM lagabhaga AThaso varSa pUrve bhASAMtaro thaI gayelAM che. jo ke saMskRta bhASAmAM e graMtho moTA bhAge naSTa thaI gayA che, chatAM enAM je TibeTana bhASAMtaro sacavAI rahelAM che te paNa khAsa upayogI thAya tevAM che. TibeTana graMtho svataMtra rIte samajavA e atyaMta muzkela kArya che. eTale duniyAnA vidvAno TibeTana graMthonA mULa bhAgo saMskRtamAM aMzarUpe paNa koI sthaLe maLI Ave to te zodhavA mATe ghaNo parizrama kare che. vizvanA moTA moTA dezomAM ribeTana bhASAMtaronA saMgraho che ane aneka vidvAno A graMthonuM apAra parizrama uThAvIne paNa adhyayana karI rahyA che. jaina dArzanika graMthomAM vipula pramANamAM uddata karelA bauddha dArzanika graMthonA pATho vizvanA aneka vidvAnone A dRSTie atyaMta upayogI che. je temanA khyAlamAM A vAta Ave to vizvanA vidvAno jaina dArzanika sAhitya tarapha A nimitte paNa ghaNA AkarSAya tevuM che. A viSe ame jaina AtmAnaMda sabhA bhAvanagarathI prakAzita thanAra nayacaka graMthanI prastAvanA tathA pariziSTa AdimAM vistArathI jaNAvyuM che. TibeTana bhASAMtaronA aneka saMskaraNa Adi viSe vaizeSika sUtra ke je gAyakavADa orienTala sIrIjhamAM naM 13 6 rUpe prakAzita thayuM che tenA sAtamA pariziSTamAM (pR. 153-166) ame vistArathI jaNAvyuM che. have mULa vAta upara AvIe. dharmasaMgrahaNInI vRttimAM (pR. 12) sadufmu-"va vana vistaravAritam / vastae nAre nara vinayI" tiA ATalo pATha uddata karelo che. saMpAdake anya graMthane AdhAre TippaNImAM saMpUrNa kArikA nIce mujaba ApelI che buddhayA kalpikayA viviktamaparairyadrUpamullikhyate buddhioM na bahiryadeva ca vadan nistattvamAropitam / yastattvaM jagate jagAda vijayI niHzeSadoSadviSo vaktAraM tamiha praNamya zirasA'pohaH sa vistAryate // bauddhone tyAM apahavAdanuM nirUpaNa karatA aneka graMtho che. saMskRtamAM je kaMI bauddha sAhitya maLe che temAM to A kArikA dekhAtI ja nathI, eTale mArA pAse jyAre bauddha graMthonAM--khAsa karIne dArzanika bauddha graMthonA-TibeTana bhASAMtaro AvyAM tyAre tapAsa karatAM jaNAyuM ke dhamoMttare racelA anyApIha prakaraNanI A prathama kArikA che. jApAnanI Tibetan Tripitaka Research Institute (Tokyo, Japan) taraphathI ribeTana bhASAMtaronA je 150 bhAgo (Volumes) hamaNAM bahAra paDelA che temAM 138mAM bhAgamAM pR. 73thI 78mAM A graMthanuM TabeTana bhASAMtara chapAyeluM che Peking edition tarIke je saMskaraNa prasiddha che tenA phoTAo uparathI bloka banAvIne A graMtho, chApavAmAM AvelA che. keTaloganA krama naMbara pramANe 5748 naMbarano A graMtha che. 252 B thI 264 A TibeTana pAnAmAM A graMtha che. TibeTana bhASAMtaramAM A saMpUrNa kArikA nIce mujaba che : 4Thasa enDa DiDa vanilaya dhyeya5 vavavava blo-mig-spyi me2 8nyid m yia skyebtgs-gng-nyid- brjod- 5 | / 'gro l re nyin gsungs- p rnm-rgyl- mng2- b m lus-skyon-brlb| gsung mdzd- gng- yin- de-l-mntos-phyg-'tshl-zhes-sel-b- re 'der-bsh8| 1 devanAgarI lipimAM TibeTana akSaro paikI keTalAka akSara na hovAne lIdhe devanAgarImAM AnuM yathAvata livyaMtara

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dharmasaMgrahaNIvRttimAM AvatA eka avataraNanuM TibeTana granthane AdhAre mULa sthAnaH 13 A TibeTana kArikA te dharmasaMgrahaNI vRttimAM uddhata karelI saMskRta kArikAno ja TibeTana bhASAmAM anuvAda che. TibeTana bhASAMtaranuM svataMtra rIte adhyayana karanAra manuSyane enA parathI artha samajI zakavo atyaMta duSkara che. A saMskRta kArikA najara samakSa rAkhavAthI eno artha spaSTa samajI zakAya tema che. A rIte adhyayana karavAthI graMthakAre kayA graMthane AdhAre carcA karI che te paNa spaSTa jANI zakAya che tema ja naSTa thaI gayelA graMthanA aMzano A rIte uddhAra paNa thAya che. jaina dArzanika graMthomAM AvAM to bIjA aneka avataraNo che ke je te te mULa saMskRta graMthanAM TibeTana bhASAMtaramAM jovA maLe che. A viSayamAM vidvAno rasa le ane adhika gaSaNA kare. pUjyapAda gurudeva munirAjazrI bhuvanaviyAnevAsI muni jaMbUviya vi. saM. 2021, zrAvaNa sudi 8 " mAMDavI (kaccha) karIne ApavuM muzkela che. chatAM AnuM kaMIka svarUpa jANavAnI icchAvALAo mATe devanAgarImAM AnuM livyaMtara karIne nIce ApyuM che, krega bcas blo yi gaG gi raG zin gzan gyis dpen para rab bastan pa / blo min phyi min de jid ma yin syo btags gaG jid |d pa yi / 'yo la de jid g suGs pa rnam ryal mGa ba ma lus skyon bral ba / gsuG mjad gaG yin de la martos phyag 'chal nas sela ba de 'dir brazad /

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pramANumImAMsAmAM pratyakSanI carcA jitendra jeTalI bhAratIya darzanomAM judA judA prakAranI ekavAkyatA jovAmAM AvatI hovA chatAM je mukhya bAbatomAM 'parasparano matabheda che emAM pramANunI saMkhyA tathA je pramANe svIkAravAmAM AvyAM che enAM lakSaNomAM paraspara bhinnatA jovAmAM Ave che. A dRSTie jaina darzananuM pratyakSanuM lakSaNa bhinna hoya e paNa svAbhAvika che. Ama chatAM dArzanika bhinnatAmAM potAnA ja darzananA anya pUrvAcAryonA lakSaNa karatAM pAchaLanA AcAryo je aneka vAdavivAdone aMte te te padArthanuM lakSaNa Ape che emAM paNa bhinnatA jovAmAM Ave che. A dRSTie ja ApaNe "pramANamImAMsAmAM hemacaMdrAcArye Apela pratyakSanuM lakSaNa joIe. - pratyakSa ane parokSa e pramANe pramANunA be prakAra gaNAvI AcArya hemacaMdra emanI 'pramANamImAMsAmAM pratyakSanuM lakSaNa A pramANe jaNAve che: 'virAH pratyakSam | pratyakSanA A lakSaNane samajAvatAM AcArya kahe che ke vizada arthAta spaSTa evo sabhya arthane nirNaya e pratyakSa jJAnanuM-pramANanuM lakSaNa che. A sUtramAM samyasAco evo arthano nirNaya e pramANa sAmAnyanuM ja lakSaNa 2 kanvaryanirNayaH pramANa5 emAMthI anuvRtta karavAmAM AvyuM che. A rIte pratyakSanuM cAluM lakSaNa virAH sampardhanicaH pratyakSam evuM thayuM gaNAya. jaina darzananI dRSTie hemacaMdrAcAryanuM A lakSaNa banne prakAranA pratyakSane lAgu paDe che. arthAta eka pratyakSa jene sAMvyAvahArika pratyakSa ke je prANImAtrane rojanA anubhavamAM thAya che e pratyakSa; bIjuM pratyakSa e mukhya pratyakSa kiMvA kevala-pratyakSa jemAM svarUpano-AtmAnA potAnA rUpano spaSTa AvirbhAva thAya che tathA je mAtra kevalajJAnIne thAya che. A banne prakAranA pratyakSamAM ghezA eTale ke spaSTatA eka prakAre sarakhI ja rahe che. vastuta: mukhya pratyakSanI spaSTatA e cokkasa rIte mukhya spaSTatA paNa che. 1 juo pramANamImAMsA, a0 1, A0 1, sa. 13, saMpAdaka 50 sukhalAlajI saMghavI, siMdhI jena graMthamAlA. 2 juo ejana sU0 1. 12.

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pramANamImAMsAmAM pratyakSanI carcA : 15 A spaSTatA eTale zuM e AcArya A pramANe samajAve che. upramANAntarAnapekSedantayA pratibhAso vA vaizadyam / anya arthAta pratyakSathI itara parokSa anumAna, zabda vagere pramANonI jemAM jarA paNa apekSA na hoya; eTale te padArthanuM jJAna prApta karavAmAM je svAtaMtrya anya pramANunI madadanI nirapekSatA e ja pratyakSanuM vaizadya che. A ja lakSaNane spaSTa karavA ane kharAbara samajavA khIjo paNa vikalpa mUke che. ' phntayA pratimAno vA' A (vastu) che evo pratibhAsa arthAta koIpaNa padArtha vize jema AMkhathI koI padArthane joI ne A padArtha' Avo che evo je anubhava thAya che te anubhava e pratyakSa anubhava che. A prakArano anubhava te jJAna sAMvyAvahArika-pratyakSamAM te te indriyathI athavA to indriya eTale ke manathI thAya che. jyAre mukhya--pratyakSamAM kiMvA kevaLa pratyakSamAM AvuM pratyakSa yA Avo anubhava koIpaNa indriya ke mana vagere indriyanI apekSA rAkhyA vinA thAya che. e paNa ApaNA rojiMdA pratyakSa jJAnanI jema balake je kAMIka vadhAre hoI pratyakSanuM vaizaghra eTale ke spaSTatA emAM paNa che ja. Ama hemacaMdre ApelA ane samajAvelA pratyakSanA A lakSaNamAM pUrvAcAryoe Apela khIjA prakAranA lakSaNano saMkSepamAM hatAM saMpUrNa khyAla AvI jAya che. pote karela A lakSaNanI carcAmAM emaNe anya bhAratIya darzanonA pratyakSalakSaNanI paNa TUMkI chatAM saMpUrNa carcA karI che. A rIte potAnuM lakSaNa TUMkuM hovA chatAM nirdoSa che ema paNa emaNe saphaLa rIte siddha karI batAvyuM che. A carcAmAM emaNe sau pahelAM nyAya-vaizeSikane abhISTa evA nyAyasUtrakAre karela lakSaNane tapAsyuM che ene ApaNe paNa vicArIe. 4 indriyArthasannikarSotpannaM jJAnamavyapadezyamavyabhicAri vyavasAyAtmakaM pratyakSam / indriya ane artha-vastunA saMbaMdhathI utpanna thaela, zabdathI avyavahArya, avyabhicAri evuM je nizcayAtmaka jJAna e pratyakSa evo artha ' nyAyasUtra 'nA lakSaNano thAya. hemacaMdrAcArya A sthaLe dArzanika matabhedane kAraNe indriya ane arthano Avo saMbaMdha kiMvA sannikarSa yogyatAthI atirikta hoI na zake ema jaNAvI. naiyAkiko je rIte khandriya ane arthano sannikarSa mAne che enI saMbhavitatAnuM khaMDana kare ke A darzanamAM doSa Ape e prAcIna paraMparA anusAra sahaja che. paraMtu A sthaLe AcAryanI sUkSmadarzitA khIjA ja prakAranI che. emaNe A sthaLe nyAya-paraMparAmAM ja anya AcAryoe A sUtranA arthamAM pheraphAra karI A lakSaNa ja khoTI rIte dhaTAvavAno prayatna karyo che e pratye emaNe je spaSTa aMgulinirdeza karyAM che emAM emanI sUkSmadarzItA rahelI che. . uparanA sUtrane bhASyakAra vAtsyAyana A pramANe samajAve cheH indriya ane enA saMbaMdhathI utpanna thatuM je jJAna e pratyakSa. A jJAna indriya ane arthathI A rIte utpanna thAya che : AtmAno mana sAthe saMbaMdha thAya che; manano indriya sAthe ane indriyano artha sAthe. Ama traNeya prakAranA saMbaMdhathI utpanna thayela jJAnane pratyakSa kahevAmAM Ave che. sAthe sAthe A jJAna anubhavAtmaka hoI ' avyapadezya ' che; eTale ke zabdathI eno vyavahAra thato nathI. zabda ke arthano saMbaMdha jANanArane ke na jANanArane uparanA traNa prakAranA saMbaMdhathI je jJAna utpanna thAya che e pratyakSa che. koI ene ' rUpane jANe che' ke 'rasane jANe che' ema samajAvavA jAya to e zAbdajJAna thAya che. pratyakSa to aMdara anubhavAtmaka ke anuvyavasAyAtmaka je jJAna che e ja jJAna che. A vizeSaNa jJAnanA anya prakAro saMbhavita na thAya e mATe che. A uparAMta e anyabhiyAri arthAt avisaMvAdi abhramAtmaka hovuM joIe. jema ke dUrathI pANI jevuM joI ne mRgajaLamAM pANInuM jJAna e bhramAtmaka jJAna che, eTale e ndriya ane emanA 3 juo ejana 0 1. 1, 14, 4 juo nyAyasUtra a. 1. A0 1. sU. 4. caukhambhA saMskRta sirijha,

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16H zrI mahAvIra jaina vidyAlaya suvarNamahotsava ratha saMbaMdhathI utpanna thayela hovA chatAM pratyakSa jJAna nathI paNa eka bhrama che. vaLI e vyavasAyAtmaka eTale ke nizcayAtmaka paNa hovuM joIe. arthAta je e saMzayasvarUpanuM hoya to Indriya ane arthanA saMbaMdhathI utpanna thayela hovA chatAM e pratyakSa jJAna nathI, e saMzaya che. Ama gautamanA mate Indriya ane arthanA saMbaMdhathI utpanna thayela, avyapadezya, avyabhicAri tathA nizcayAtmaka je jJAna e pratyakSa jJAna che. A prakAranA gautamanA lakSaNamAM yogIone thatuM je AtmAnuM divya pratyakSa jJAna che eno paNa samAveza ApoApa thaI jAya che kAraNa ke nyAya ane vaizeSikanA mate mana e paNa Indriya che. A pramANe sUtrakAra, bhASakAra tathA vAtikakAra traNeyane mate sUtrano A ja artha abhipreta che. paraMtu udyotakaranA vArtika upara "tAtparyaTIkA' nAmanI TIkA lakhanAra vAcaspati mizra A sUtrano judo ja artha kare che. A sUtramAMnA avyapadezya padano teo nivika95 artha kare che ane vyavasAyAtmaka " padano savikalpaka artha kare che. Ama A sUtramAMthI teo nirvikalpa ane savikalpa Ama be prakAra pratyakSanA phalita kare che. Ama karavAnuM saMbhavita kAraNa e ja che ke prativAdI bauddha gautamanA A sUtrano artha potAne pakSe anukULa ane pote je jAtanuM pratyakSa mAne che ene baMdhabesato kare che. "avyapadezya' padane AdhAre A artha karI, gautamanuM A lakSaNa barAbara che ema kahI nivikalpaka pratyakSa e ja sAcuM pratyakSa jJAna che ema jaNAve che. A kAraNe trilocana, vAcaspati mizra tathA e samayanA anya nyAyamatanA vaidika paMDitoe A sUtranA arthane pheravyo che. AcArya hemacaMdra jaina dRSTie gautamanA matanuM khaMDana kare e svAbhAvika che, paraMtu emanI sUkSma najara trilocana tathA vAcaspati mizra jevA niyAyikoe karela sUtranA viparIta artha tarapha paNa gaI che e emanI vizeSatA che. A sUtrano A rIte arthaviparyAsa karavAmAM Avyo che e vize sau pahelAM spaSTa nirdeza emaNe ja karyo che. teo spaSTa jaNAve che ke : 'atra ca pUrvAcAryakRtavyAkhyAvaimukhyena saGkhyAvadbhistrilocanavAcaspatipramukhaira yamarthaH samarthito yathA-- indriyArthasannikarSotpannaM jJAnamayabhicAri pratyakSamityeva pratyakSalakSaNam / 'yataH' zabdAdhyAhAreNa ca yattadornityAbhisambandhAduktavizeSaNaviziSTaM jJAnaM yato bhavati tat tathAvidhajJAnasAdhanaM jJAnarUpamajJAnarUpaM vA pratyakSaM pramANamiti / asya ca phalabhUtasya jJAnasya dvayI gatiravikalpakaM savikalpakaM c| tayorubhayorapi pramANarUpatvamabhidhAtuM vibhAgavacanametad 'avyapadezyaM vyavasAyAtmakam' iti / A rIte vAcaspati mizra tathA e samayanA trilocana jevA nyAyanA anya dhuraMdhara paMDitoe sUtrakAra, bhAgyakAra ke vArtikakAra traNeyane ISTa nahi evo artha kaI rIte karyo che e saMkSepamAM paNa spaSTa jaNAvyuM che. ApaNe bhASyakAra vAsyAyane je artha karyo che e joI gayA chIe. emAM "adyapadezya " padano artha nirvikalpa nathI karyo. vArtikakAra udyotakara paNa Avo artha nathI letA. vastutaH pratyakSanA be prakAra-savika95ka tathA nivikalpaka e kalpanA ja sUtrakAra pAse nahotI; nahi to jema anumAnanA traNa prakAra sUtrakAre gaNAvyA ema pratyakSanA paNa gaNAvI zakata. paraMtu jyAre udyotakara pachInA samaye bauddha tAkikoe gautamanA sUtramAMthI ja bauddha darzanane iSTa evA pratyakSanuM lakSaNa phalita karI batAvyuM tyAre eka upAya tarIke trilocana tathA vAcaspati mizra jevA taiyAyikoe sUtranA arthane pheravyo. A pheraphAra upara eka prauDha dArzanika vidvAna tarIke AcArya hemacaMdranI najara paDI ane emaNe jaNAvyuM e rIte A pheraphAra ISTa nathI e vAta sAcI che. jaina mate indriya ane artha e pratyakSanI-sAMvyAvahArika pratyakSanI utpatti pratye karaNa hovA 5 juo "pramANamImAMsA' saMta paM. sukhalAlajI "siMdhI jaina graMthamAlA' pR. 22 6 juo nyAyasUtra a0 1, A0 1, sU0 4.

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pramANamImAMsAmAM pratyakSanI carcA : 17 chatAM jJAti pratye karaNa nathI. jJAna e ja pratyakSa jJAna thavAmAM paNa kAraNa che ema A sthaLe AcArya udAharaNothI 25STa samajAve che. sAthe sAthe emaNe bauddhonA mImAMsAkonA tathA sAMkhyonA judA judA AcAryoe karelA pratyakSanA lakSaNonuM khaMDana paNa potAnI AgavI rIte karyuM che. pratyakSa jJAnanA lakSaNunI A AkhIe carcAmAM jaina darzana anya bhAratIya darzano karatAM spaSTa rIte juduM paDe che. nyAya tathA vaizeSika jevA vaidika darzanoe pratyakSa jJAnamAM Indriya ane arthanA sainikane je eka kAraNarUpe jaNAvyuM che e vize jyAM sudhI jaina darzananA sAMvyAvahArika pratyakSanI vAta che tyAM sudhI AvA pratyakSa jJAnanI utpattinA eka kAraNarUpe Ano bahu vAMdho nathI. jo ke cAkSuSa pratyakSamAM utpattimAM paNa A sakirNane kAraNarUpe svIkAravAmAM nathI Avato. paraMtu ATalAthI indriya ane arthano sannikarSa e pramANa nathI banato. vaLI jyAM AtmasAkSAtkArano prazna che tyAM AmA pote jJAna-svarUpa hoI enA potAnA AvirbhAvamAM indriya ke mana bemAMthI koIpaNa kAraNa nathI. A pramANe jainadarzananI vizeSatA vaidika ke avaidika tathA bhAratIya darzanomAM ke Atma-sAkSAtkAranI bAbatamAM AtmA sivAya koIpaNa anya Indriya ke noIdriya mana vagerene kAraNa na mAnavAmAM rahelI che. A rIte jaina darzanamAM mukhya pratyakSa ke je kevaLa jJAnarUpa che ane utpanna thavAmAM AtmAne anya koIpaNa sAdhananI jarUra nathI. AvuM pratyakSa yaugika hoya to paNa mana, citta ke aMtaHkaraNa kevaLa jJAnanI utpattinI prakriyAmAM kAraNa nathI paNa A jJAna e jJAna-svarUpa AtmAno-potAnA-svarUpano AvirbhAva che. mATe A ja mukhya pratyakSa che, ane e thatAM AtmA mukta thAya che. sAMkhya tathA yogamAM tema ja nyAya vaizikSikanA mate paNa A prakAranA yaugika pratyakSarUpa tattvajJAnamAM citta yA mana nimitta che. eka prakAre bauddhonA matamAM paNa tatvajJAnamAM citta nimitta che. alabatta, emanA matamAM citta ke AtmA koI svataMtra kAvyo nathI. AtmA emanA matamAM jJAnasattatirU5 che. A jJAnasattatinuM baMdha thaI javuM eTale ke eno Atyantika uccheda e ja nirvANa olavAI javuM e mokSa che. Ama mULabhUta pharakamAM mokSa thatAM jJAnasattati paNa rahetI nathI. AtmA dravyarUpa na hoI A rIte AtmAno paNa ucheda thAya che. bauddhanA nirvANanI A kapanAnI prabaLa asara nyAya-vaizeSikanA matanA mokSanI kalpanA upara paNa paDe che. nyAya-vaizeSika matamAM tattvajJAna pachI mokSa thatAM AtmA to rahe che paNa samavAya saMbaMdhathI rahenArA enA ekapaNa vizeSa guNa rahetA nathI. Ama mokSamAM vizeSa guNa vinAno AtmA rahe ke na rahe emAM bahu pharaka nathI. A paNa eka prakArano AtmAno uccheda ja che, phakta ene spaSTatA kahevAmAM nathI Avyo. jaina darzana A bAbatamAM spaSTa che. mokSa e Atma-sAkSAtkAra pachI ja thato hoI emAM jeno mokSa thAya che eno ja eka prakAre uccheda thAya e na mAnI zakAya evI bAbata che. tattvajJAnanA pradezamAM vedAntI jagatane mAyA mAnavA chatAM paNa mokSamAM brahmasvarUpano AvirbhAva mAne che. emanA mate brahma sata cita tathA AnaMda svarUpa che. Ama jarAka UMDethI tapAsIe to jaNAze ke nyAya-vaizeSika tathA bauddha matamAM tattvajJAna thayA bAda jeno mokSa thAya che enuM astitva ja rahe che ke kema e nAkA che; jyAre jene matamAM ema nathI. enuM astitva rahe che ja. pratyakSanA-sAMvyAvahArika pratyakSanA anya prabhedomAM paNa jaina darzananI dRSTi kAMIka vizeSa sUkSma che. ApaNe joI gayA ke nyAya-vaizeSiko be prakAranA pratyakSa mAne che : nirvikalpaka ane savikalpaka, paraMtu emAM paNa nyAya-vaizeSika matanI nirvikalpaka pratyakSanI kalpanA pAchaLathI UbhI thayela che e paNa ApaNe 7 juo 'pramANamImAMsA' pR0 23, 8 juo ejana pR0 23, 24. su0 graM 2

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18: zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha tapAsI gayA chIe. jaina darzanamAM Ama nathI. emAM pahelethI ja pratyakSanI cAra avasthA je ghaNI sahaja che te ja jaNAvI che. A avasthAonI jANa jJAtAne mana dvArA indriyathI je jJAna utpanna thAya che emAM mananI gatinI atizIdhratAne kAraNe thatI nathI, chatAM A avasthAo ati spaSTa che. avagraha, "hA, avAya tathA dhAraNA A cAre prakAro hemacaMde spaSTa rIte pramANamImAMsAmAM samajAvyA che. ApaNe ene kramazaH joIe. pahelo prakAra samajAvatAM teo jaNAve che ke - "akSArthayoge drshnaanntrmrthgrhnnmvgrhH| eTale ke indriya ane arthano saMbaMdha thatAM je sau prathama vastunuM grahaNa thAya e avagraha che. A avagrahamAM vastunA vizeSonuM grahaNa thatuM nathI, paraMtu "A kAMIka che evA AkAranI pratIti thAya che. AmAM kAMIka che eTalI pratIti spaSTa thatI hoI A nivikalpaka jJAna nathI, kAraNa ke vastunuM grahaNa yathArtha grahaNa to AmAM spaSTapaNe thAya che ja. A pramANe "avagraha thayA bAda pratyakSanI bIjI avasthA te Ihi che. Ane samajAvatAM teo jaNAve che ke- 1degavataviroSAkSAnIdA | avagRhIta eTale ke jenuM sAmAnya grahaNa thayuM hoya evA koI arthanI-padArthanI vizeSa AkAMkSA thAya tathA e AkAMkSA thatAM manamAM A amuka prakArano padArtha che evA nirNaya tarapha laI jatI mAnasika ceSTA yA prakriyA ene hA kahevAmAM Ave che. ahIM avagraha ane IhAnI vacce koIkavAra anya viSayamAM paNa pramAtAne saMzaya thato hoya che paNa A saMzaya mananI atyanta zIdhra gatine kAraNe jaNAto nathI. A IhA ane Uha vacce pharaka che. e banneno bheda hemacaMdra A pramANe samajAve che: patrikAlagocaraH sAdhyasAdhanayorvyAptigrahaNapaTurUpo yamAzritya 'vyAptigrahaNakAle yogIva sampadyate pramAtA' iti nyAyavido vadanti / IhA tu vArtamAnikArthaviSayA pratyakSaprabheda ityapaunaruktyam / arthAta Uha e gaNeya kALano sparza kare che, sAdhya tathA sAdhananI vyAtigrahaNamAM 5Tu evo hoI ene AdhAre vyAptigrahaNanA samaye (jenI vyApti grahaNa thAya e vastu vize) pramAtA thoDIvAra yogInI jema (sA) thaI jAya che ema nyAyavidonuM kahevuM che. arthAta vyAptijJAna dvArA ekavAra e vyAptinI asara heThaLa AvatI badhI vastuonuM sAmAnyajJAna pramAtAne Uha dvArA thAya che. jyAre ahIM IhA to phakta vartamAnakALamAM jenuM pratyakSa thaI rahyuM che enuM ja grahaNa karatI hoI e pratyakSano bheda che. Ama Uha ane IhA vacce mULabhUta pharakanI AcArya sUkSmakSikA dvArA spaSTatA kare che. IhA e pratyakSajJAnarUpa mAnasika ceSTA che tathA e nizcayAtmaka pratyakSajJAna tarapha dorI jAya che. IhA pachI turata ja je nirNaya thAya che tene avAya kahe che. avAyane samajAvatAM AcArya hemacaMdra jaNAve che ke-- 12iihitvishessnirnnyo'vaayH| IhAe je vastunA vizeSane jANavAnI ceSTA karI che eno nizcayAmaka nirNaya thaI javo e avAya che. A avAya e pratyakSa jJAnanuM nizcayAtmaka svarUpa hoI e antima avasthA che. avAya thayA bAda enI dhAraNuM thAya che, eTale ke eno saMskAra AtmAmAM paDe che ane bIjIvAra e saMskArane baLe smRti thaI zake che. mATe ja AcArya dhAraNAnuM svarUpa samajAvatAM jaNAve che ke - 9 juo ejana sU0 1.1. 26 10 juo ejana sU0 1. 1. 27 juo pra. mImAMsA sU0 1. 1. 27 uparanuM bhAgya pR0 21. 12 juo ejana sU0 1, 1, 28 11

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pramANamImAMsAmAM pratyakSanI carcA: 19 13smRtiheturdhaarnnaa| jenAthI smRti thaI zake eTale ke smRtinuM kAraNa che evo pratyakSa jJAnano je saMskAra e dhAraNuM che. A sarakAra e nyAya-vaizeSikanA mate jJAnathI atirikta hoI bhAvanA kahevAya che paNa jaina mate A dhAraNArUpa saMskAra e AtmAno dharma hoI tathA AtmA jJAnarUpa-cetanyarUpa hoIe paNa jJAnarUpa ja che. A sthaLe pUrvAcAryonA lakSaNanI samIkSA paNa hemacaMdra suMdara rIte kare che. pUrvAcAryonA mata pramANe dhAraNAnuM lakSaNa 14vivuM dhA (vizeSa jA 180) ema che. vizeSAvazyakanI A gAthA anusAra avizruti-jJAnanI avizruti-AtmAmAMthI zruta nA thavuM e ja dhAraNA che. te pachI AcArye smRtinuM kAraNa dhAraNa che, evuM zA AdhAre kahe che ema zaMkA thatA teo eno suMdara khulAso kare che ane samajAve che ke - atyavicyuti ma dhAraNA, kintu sA'vAya evAntarbhUteti na pRthguktaa| avAya eva hi dIrghadIrgho'vicyutirdhAraNetyucyate iti / smRtihetutvAdvA'vicyutirdhAraNayaiva sgRhiitaa| navAyamAtrAdavicyutirahitAt smRtirbhavati; gacchattRNasparzaprAyANAmavAyAnAM parizIlanavikalAnAM smRtijanakatvAdarzanAt / tasmAt smRtihetU avicyutisaMskArAvanena saGgrahItAvityadoSaH / / - avismRti e dhAraNA che e vAta sAcI paraMtu A prakAranI avizruti avAyanI aMdara ja aMtarbhata thayelI che: vastutaH khUba ja lAMbA samaya sudhI sthita avAya ja avismRtirUpa hoI dhAraNAmAM pariName che. athavA to avizruti-nizcayanuM cuta na thavuM e smRtinuM kAraNa hoI dhAraNa thI saMgRhIta thaI jAya che. kevaLa avAya eTale ke arthano nirNaya avizrutirahita hoya-arthAta e sthira na hoya te e smRtinuM kAraNa banato nathI; jema ke raste jatAM pagataLe ghAsa ke AvI vastuono nirNaya enA sparzathI thAya che paNa e vize enA cittamAM koI parizIlana thatuM na hovAthI e jJAna nizcayasvarUpa avAya hovA chatAM e avismRti na hovAne kAraNe smRti utpanna karatuM nathI. mATe ahIM Apela dhAraNAnA lakSaNathI jJAnanI avismRti ane saMskAra je smRtinA kharekharA kAraNa che e baneno saMgraha thaI jAya che mATe dhAraNAnuM AvuM lakSaNa karyuM che. A prakAranA AcAryo karela lakSaNathI ApaNe emanI sUkSmakSikA tathA saMkSepamAM paNa potAno muddo spaSTa rIte samajAvavAnI AgavI rIte joI zakIe chIe. phakta pratyakSa jJAnanA lakSaNanI carcAmAM AcArya hemacaMdra anya darzanoe karela lakSaNanI carcA muddAsara kare che eTaluM ja nahi, paNa jyAM anya darzanakArI pote karela lakSaNano ke potAnA AcAryoe karela lakSaNanA arthano viparyAsa kare che tyAM paNa teo cokakasa rIte nukatecInI kare che. A uparAMta potAnuM lakSaNa pUrvocAya karatAM juduM paDatuM hovA chatAM zA kAraNe siddhAntathI virodha nathI te, tathA potAnA matanA siddhAntono je aMza pUrvAcAryonA lakSaNamAM rahI jato hoya ene paNa AvarI le che. A rIte zakya eTalI nirdoSatA sAthe koIpaNa bAbatane saMkSepamAM kahevAno emano prayAsa hoya che, e A carcAthI spaSTa jaNAI Ave che. pramANamImAMsAmAM ahIM tathA anyatra paNa AcArya hemacaMdra khoTo ADaMbarI zabdavistAra karyo nathI paraMtu eka gaMbhIra tArkikanI adAthI emaNe jaina darzananA siddhAntonuM ane emAM paNa vizeSa pramANabhAganuM suMdara nirUpaNa karyuM che e emanI vizeSatA che. rUti . 13 juo ejana sU0 1. 1. 29 14 juo ejana pR. 22 15 , or by

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AgamayuganA vyavahAra ane nizcayano paM. zrI dalasukhabhAI mAlavaNiyA 1. adhigamanA vividha upAyo jaina darzanamAM vastunA nirUpaNamAM syAdvAda athavA anekAMtavAdano Azraya levAmAM Ave che, ane e syAdAda ke anekAMtavAdano AdhAra vibhinna nayo che. bhagavAna mahAvIre aneka praznonA uttaro bhagavatIsUtramAM ApyA che. tenuM vizeSa adhyayana karIe to e vAta spaSTa thAya che ke temanA te uttaro haThAgrahInA nathI. temAM kadAgraha dekhAto nathI, paNa vastune vividha rIte tapAsavAno prayatna che; ane vastune vividha rIte tapAsavI hoya to temAM dRSTikoNa badalavAnI jarUra paDe che. A badalAtA dRSTikoNone zAstrIya paribhASAmAM nayo kahevAmAM Ave che. jaina AgamomAM vastune jevAnA je vividha upAyo batAvavAmAM AvyA che, temAM judI judI jAtanAM vargIkaraNa najare paDe che. jema ke - (1) dravya-kSetra-kAla-bhAva vagere temAMnA eka vargamAM eka prakAra dravya-kSetra-kAla-bhAvano che, Ano ja bIjo prakAra kalya-kSetrakAla-bhAva-guNano che, trIjo prakAra dravya-kSetra-kAla-bhava-bhAvano che ane cotho prakAra dravya-kSetra-kAla- bhava-bhAva-saMsthAnano che. prathama prakAranA dravyAdi cAra e ja mukhya che ane emAMnA bhAvanA ja vizeSo bhava, guNa ke saMsthAne che kAraNa ke bhAva e paryAya che ane bhava, guNa ke saMsthAna paNa paryAyavizeSo ja che. AthI A varganI pratiSThA dravyAdi catuSTayane nAme vizeSarUpe jaina darzananA graMthomAM jovAmAM Ave che. (2) kavyArthika, paryAyArthika vagere daSTionA bIjA vargIkaraNamAM dravyArthika ane paryAyArthika daSTi mukhya che; jyAre ene ja bIjI rIte vyArthika ane pradezArthika rUpe athavA oghaAdeza ane vidhAnadezarUpe paNa mUkavAmAM AvI che.

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AgamayuganA vyavahAra ane nizcayanaya : ra1 Agamagata A be daSTio ja mukhyarUpe nayo tarIke pratiSThita thaI che; ane te be daSTionA AgaLa jaI pAMca nayo, cha no ane sAta no tathA vacananA jeTalA prakAra hoya teTalA navo -ema bhedo karavAmAM AvyA che. paNa tenA sAta bhedo e darzanayugamAM vizeSarUpe mAnya thayA che. (3) nAma-sthApanA-dravya-bhAva trIjA vargamAM nAma-sthApanA-dravya-bhAva e cAra nikSepa athavA ethI vadhu nikSeponuM sthAna che. AmAM mukhyarUpe zAbdika vyavahArano AdhAra zodhavAnI pravRtti che. nikSepo aneka chatAM darzanayugamAM ane AgamonI TIkAomAM paNa ukta cAra nikSepone ja mukhya mAnavAmAM AvyA che. (4) jJAnanaya ane kriyAnaya cothA vargamAM jJAnanaya ane kriyAnaya, eTale ke, jIvanamAM jJAnane mahattva ApavAnI dRSTi ane kriyAne mahattva ApavAnI dRSTi: mULa AgamamAM A be no viSe ullekha nathI paNa niryuktibhAvyomAM te spaSTa che. -vizeSao gA0 3591, 3600, 3601. * (5) vyavahAra ane nizcaya ane pAMcamA vargamAM bhagavatIsagna ane bIja Agamika graMthomAM ulikhita vyavahAra ane nizcayanayano samAveza che. (6) naya ane pramANu ane chevaTe naya ane pramANathI vastune adhigama thAya che--ema manAyuM che. Ano artha e che ke chUTA chUTA dRSTikoNathI arthAta niyone AdhAre thatuM darzana e AMzika che; tyAre pramANuthI karAyeluM darzana pUrNa che. Ama vastutaH jyAre naya ane pramANarUpa upAyanuM avalaMbana levAmAM Ave tyAre ja vastunA aMtima ane pUrNa svarUpanuM bhAna thAya che. 2. vyavahAra ane nizcayanaya athavA saMvRti satya ane paramArtha satya vizvane satya ane mithyA mAnanAra darzana bhAratIya darzano spaSTa rIte be vibhAgamAM vaheMcAI jAya che. ekamAM bAhya dazya ane vAgye vizvane satya mAnanArAM ane bIjAmAM mithyA athavA mAyika mAnanArAM che. zAMkaradAMta, zunyavAda, vijJAnavAda Adi darzana bAhya vizvane mithyA, mAyika, sAMskRtika ke prapaMca mAnI tenI vyAvahArika sattA athavA sAMskRtika sattA svIkAre che; jyAre zUnya, vijJAna ke brahmane pAramArthika sata svIkAre che. AthI viparIta bAhya dekhAtA jagatane satya mAnanAra vargamAM prAcIna bauddho, jeno, nyAyavaizeSika, sAMkhya, mImAMsako Adi che. dRSTibiMdunA A bhedane kAraNe atavAda ane svaitavAda evA be bhedomAM sAmAnya rIte darzanone vaheMcI zakAya che. advaitavAdIoe potAnA darzanamAM sAmAnya jananI dRSTie je kAMI dekhAya che tene laukika ke vyAvahArika ke sAMskRtika kahyuM, jyAre jJAnI puruSanI dRSTimAM je Ave che tene pAramArthika, alaukika ke parama satya kahyuM. AmAM darzanabhedanI kalpanAne AdhAre apekSAbhedane vicAramAM sthAna che AmAM vizeSAvazyaka bhASyanI gAthAonA aMko mAladhArI hemacaMdrAcAryakRta TIkAnA samajavA,

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22 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI maLyuM. tene AdhAre vyavahAradaSTi, saMskRti, avidyA, vyavahAranaya athavA vyavahAra satya ane paramArthaSTi, nizrayadaSTi, nizcayanaya ke paramArthasatya jevA zabdo che te darzanamAM vaparAvA lAgyA che. chatAM paNa A badhAMno artha sane ekasarakho mAnya nathI te kahevAnI bhAgye ja jarUra che. AnuM kAraNa e che ke te te darzananI maulika vicAradhArAmAM je bheda che tene laIne laukika satyamAM paNa bheda paDe che. vedAntadarzanomAM maulika vicArano AdhAra upaniSado che, jyAre bauddha zunyavAda hoya ke vijJAnavAda, temanA maulika vicArano AdhAra buddhano upadeza che. tattvanI prakriyAmAM je upaniSada darzana ane je prakAranuM buddha darzana e emAM je prakArano bheda che te ja prakArano bheda vedAntanA ane bauddhanA adaitavAdamAM paDavAno. upaniSadamAM brahmamAMthI ke AtmAmAMthI sRSTinipattinI je prakriyA hoya tene AdhAre laukika satyanuM nirUpaNa vedAntamAM karavAmAM Ave; ane tethI viparIta buddhanA upadezamAM je sRSTiprakriyA hoya tene mULa mAnI laukika satyanuM nirUpaNa karavAmAM Ave. Ama bAhya jagatanA bhedane laukika satyanA nAme banne virodhIo oLakhatA hoya, chatAM paNa temanI prakriyAno bheda to rahe ja che ane laukika satyane nAme vedAntanI badhI ja vAta bauddha na svIkAre ane bauddhanI badhI ja vAta vedAnta na svIkAre ema paNa bane che. atavAdIonA ukta zabdaprayogonI pAchaLa je eka samAna tattva che te to e che ke avidyA jyAM sudhI hoya che tyAM sudhI parama tatvano sAkSAtkAra thato nathI ane jyAre avidyAnuM AvaraNa dUra thAya che tyAre parama tattvano sAkSAtkAra thAya che. A bAbatamAM advaitavAda ane daitavAdanuM paNa eka che ja. je bheda che te e ke avidyAne kAraNe te te darzanoe gaNAvela tattvano sAkSAtkAra thato nathI. arthAta avidyA dUra thatAM je parama tatvano sAkSAtkAra thAya che te adaitavAda ane daitavAdamAM bhinna bhinna che. prastutamAM jaina saMmata vyavahAra ane nizcayanayano vicAra A saMdarbhamAM karavo che. prathama kahevAI ja gayuM che ke jaina darzana advaitavAdI nathI. AthI temAM jyAre vyavahAra ane nizcayanaya jevA zabdono prayoga thAya tyAre te zabdono tAtparyArtha kAMIka judo ja hovo joIe; anyathA te paNa advaitavAdanI haroLamAM jaIne besI jAya. paNa jaina darzananA vikAsamAM evI bhUmikA kyAreya AvI ja nathI; jyAre temAM daitavAdanI bhUmikA choDIne saMpUrNa rIte advaitavAdI valaNa apanAvavAmAM AryuM hoya. prastutamAM vyavahAra ane nizcaya viSe Agamayuga eTale ke bhagavAna mahAvIra pachI lagabhaga hajArabAraso varSa sudhInuM Agamika tAmbara sAhitya laI vicAra karavAno irAdo che. te eTalA mATe ke A be nayano arthavistAra krame karI kevI rIte thato gayo che ane temAM te te kALanI dArzanika carcAoe kevo bhAga bhajavyo che te zodhI kADhavAnuM kAma darzananA ItihAsanA abhyAsI mATe saraLa paDe. 3. AgamamAM vyavahAra nizcaya Indriyagamya ane indriyathI agamya bhagavatIsUtragata vyavahAra ane nizcayanAM je udAharaNa che temAMthI eka vastu phalita thAya che ke vastunuM indriyo vaDe karAyeluM darzana AMzika hoya che ane sthUla hoya che. vaLI te aneka lokone ekasarakhuM thatuM hoI lokasaMmata paNa hoya che ane evI lokasaMmati pAmatuM hoI te bAbatamAM loko kazI Apatti paNa karatA nathI ane te bAbatamAM zaMkA vinA pArasparika vyavahAra sAdhe che. AthI AvA darzanane vyavahAra satya mAnavAmAM lokavyavahArano Azraya levAmAM Avelo hovAthI te vyavahAranaya kahevAyo che; jyAre vastunuM evuM paNa rUpa che je IndriyAtIta che, Indriyo te jANI zakatI nathI, paNa Ama

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AgamayuganA vyavahAra ane nizcayanayoH 23 potAnI nirAvaraNa dazAmAM pUrNa prajJA vaDe te jANe che. vastunA A rUpane tenuM yathArtha rUpa mAnavAmAM AvyuM che ane tene grahaNa karanAra te nizcayanaya che. bhagavatI sUtra(186. sU0 630)mAM bhagavAne spaSTa karyuM che ke goLane gaLe kahevo te vyavahAranaya che, paNa nizcayanaye to temAM badhA prakAranA raso che. bhamarAne kALo kahevo te vyavahAranaya che ane temAM badhA vaNa che te nizcayanaya che. A bAbatamAM rUpa, rasa, gaMdha, sparza Adi viSenA haLadara vagere aneka udAharaNa ApI spaSTa karyuM che ke narI AMkha vagere indriyo vaDe je vaNa, raso ityAdi ApaNe jANIe chIe ane te te dravyomAM te te varNAdi che ema kahIe chIe, te badho vyavahAra che, paNa vastuta: nizcaya daSTie to te te dravyomAM badhA ja varNAdi che. agni jevI vastu ApaNane bhale garama ja dekhAtI hoya ane barapha jevI vastu bhale mAtra ThaMDI ja lAgatI hoya paNa tenA nirmANamAM je pula paramANuo che te paramANuomAMnA vadhAre paramANu je uSNasparzarUpe pariNata thayA hoya to te uNa lAge, paNa teno artha evo nathI ke temAM zIta paramANuono aMza che ja nahi. vaLI, je paramANu amuka kALe uoNarUpe pariNata hoya te ja paramANu agni upara pANI paDatA zItarUpe pariNata thaI jAya che; eTale ke zItarUpe pariNata thavAnI zakita temAM che, athavA to zItaguNa avyakta hato te vyakta thAya che. teno je sarvathA abhAva hota to te kharazaMganI jema upaja ja thaI zakata nahi. mATe mAnavuM paDe che ke agnidravyanA paramANuomAM paNa zItaguNane sthAna che. ApaNe sthala rIte athavA to je varNanuM ke rasAdinuM pramANa vadhAre hoya tene prAdhAnya ApIne vyavahAra calAvIe chIe. paNa eno artha e nathI ke te te dravyamAM anya varNAdino sarvathA abhAva che. bhagavAne A prakArano khulAso karyo tenuM rahasya e che ke jaina darzanamAM pratyeka paramANamAM te te varNAdirUpe pariNata thavAnI zakti svIkArAI che. amuka kALe bhale koI paramANu kALo hoya paNa te anya kALe rakta thaI zake che. Ane ja kAraNe jaina darzanamAM anya vaizeSika AdinI jema pArthiva, jalIya Adi paramANuonI jAti judI mAnavAmAM nathI AvI, paraMtu manAyuM che ke atyAre je paramANu pRthvIrUpe pariNata hoya te ja paramANu anyakALe jala ke teja-agnirUpe pariNata thaI zake che. Ane kAraNe sthala daSTi athavA to indriya pratyakSa, je jaina darzana anusAra vastutaH pratyakSa paNa nathI paNa sAMvyavahArika pratyakSa che, tene AdhAre ApaNane amuka vastu kALI ke uoNa dekhAtI hoya chatAM paNa tAtvika rIte, eTale ke sarvane je rIte tene joI che te rIte to te mAtra te ja varNa ke spazadivALI nathI, paNa temAM badhAM ja varNAdi che ema nizcayanayanuM mantavya che. vaLI narI AMkhe upara uparathI kALo raMga dekhAya chatAM vastunI aMdaranA avayavomAM rahela ane AMkha sAme nahi Avela avayavomAM bIjA raMgo hoya tene to AMkha dekhI zake nahi ane bhamaro kALo che ema to ApaNe kahIe chIe paNa bahAra dekhAto bhamaro e ja kAMI bhamaro nathI paNa kharI rIte samagra aMdarabahAra je prakArano te hoya te bhamaro che. A paristhitimAM tene kALo kahevo te mAtra vyavahAranI bhASA che. temAM bIja paNa raMgo hoI tene nizcayathI badhA varNayukta svIkAravo joIe. * ahIM eka vAtanuM vizeSa dhyAna rAkhavAnuM che ke nizcayanaya vyavahAranaye jANela kALAno nirAsa nathI karato, paNa te ja mAtra che ane bIjA nathI evo bhAva emAM hoya to teno niSedha nizcayanaya kare che. nizcayanaya mAtra vyavahAranI sthalatA ane ekAMgitAno nirAsa kare che. eTale ke vyavahAre jANela, nizcaya dvArA sarvathA mithyA nathI karatuM, paNa te AMzika satya che, sthUla satya che ema nakkI thAya che. sAta nayAntargata vyavahAra AgaLa kahevAI gayuM che ke dravyArthika ane paryAyArthika mULano hatA tenA ja kALakrame pAMca-cha-sAta evA bhedo karavAmAM AvyA che. e nayanA bhedomAM paNa eka vyavahAranaya gaNAvavAmAM Avyo che.

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24: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI eTale nizcayanA anusaMdhAnamAM Avato vyavahAranaya ane A sAta bhedomAMno vyavahAranya eka che ke judA te paNa vicAravuM joIe. anuyogadvArasUtramAM prastha vagerenAM daSTAMtathI sAta nayone samajAvavAmAM AvyA che. tyAM prastha dAMtamAM (anuyoga sU0 144) sAte nayonA avataraNa prasaMge avizuddha nigamano prAraMbha-prastha mATe saMkalpa karI koI vyakti jaMgalamAM te mATe lAkaDA kApavA jAya che tyAre "prastha mATe jAuM chuM' ema kahe che tyArathI-thAya cheeTale ke teNe lAkaDA mATe jAuM chuM ema na kahyuM paNa saMka9pamAM rahela prastha mATe jAuM chuM ema kahyuM te naigamanAya che, paNa te avizuddha che. pachI te lAkaDuM kApe che tyAre, tene chole che tyAre, tene aMdaranA bhAgamAM kotare che tyAre ane tenI saphAI kare che-suMvALapa Ape che tyAre paNa te prastha viSenI ja vAta kare che. te badhA prasaMge te uttarottara prasthanI najIka che paNa jyAM sudhI te prastha tenA aMtima rUpamAM taiyAra na thayuM hoya tyAM sudhI te kAMI vAstavika vyavahArayogya prastha kahevAya nahi. AthI A badhA nigamanayo uttarottara avizuddhamAMthI vizuddha, vizuddhatara naigamo che; ane jyAre prastha banAvavAnI badhI kriyA pUrI thaI jAya ane tene prastha evuM nAma ApI zakAya tyAre tene je prastha ema kahevAya che te paNa vizuddhatara nigamanayano viSaya che ane taiyAra thayA pachI te vyavahAramAM prastha tarIke vaparAya che tyAre paNa te prastha nAme oLakhAya che tethI vyavahAranayano viSaya bane che. eTale ke naigamanayanA aMtima vizuddha naigame "prastha' nAma dharAvavAnI yogyatA jyAre AvI tyAre tene prastha kahyuM ane te jyAre te rUpe vyavahAramAM AvyuM ane lokamAM te rUpe pracalita thaI gayuM tyAre te prastha vyavahAranayano viSaya banI gayuM. sArAMza e che ke nigamamAM prastharUpamAM na hoya tyAre paNa te prastha kahevAyuM; paNa vyavahAramAM to tyAre ja prastha kahevAya jyAre te prastharUpe vAparI zakAya tevuM banI gayuM hoya. sArAMza che ke ahIM vyavahAranayano viSaya te te nAme lokamAM oLakhAtI vastu-vizeSa vastu ema thAya che. mAtra sAmAnya lAkaDAne vyavahAranaya prastha nahi kahe; je ke e ja lAkaDuM prastha banyuM che kAraNa ke lokavyavahAramAM lAkaDA tarIke to prastha ane bIjA paNa aneka lAkaDAM che, paNa e badhAM lAkaDAMnA prakAromAMthI vizeSa AkRtivALAM lAkaDAne ja prastha kahevAmAM Ave che, badhAne nahi; tattvanI bhASAmAM kahevuM hoya to vyavahAranaya sAmAnyagrAhI nahi paNa vizeSagrAhI che ema phalita thAya che. A dRSTAMta dravyanuM che paNa kSetranI dRSTie vyavahAranayanuM udAharaNa vasati (anuo sU0 144) daSTAMtane nAme oLakhAya che. tame kayAM raho che?--evA praznanA uttaramAM koI "lokamAM rahuM chuM" ema zarU karIne uttarottara kahe ke "tiryaMm lokamAM", "jabUdIpamAM", "bhAratamAM ', "dakSiNa bhAratamAM', pATaliputramAM ', "devadattanA gharamAM... ane chevaTe "devadattanA gharanA garbhagRhamAM rahuM chuM"--ema kahe che. A avizuddha naigamathI zarU karIne vizuddhatara nigamanA udAharaNa che. vizuddhatara nigame je uttara Apyo ke garbhagRhamAM rahuM chuM, lokavyavahAramAM evo uttara maLe to ja te kAryasAdhaka bane, AthI tevo ja uttara vyavahAranayane paNa mAnya che. garbhagRha paNa samagra lokano eka bhAga hoI "lokamAM rahuM chuM" e uttara asaduttara to nathI, paNa te uttarathI laukika vyavahAra cAlI zake nahi eTale lokavyavahAra mATe jarUrI che ke samagra lokamAMno pratiniyata pradeza nivAsasthAna tarIke jaNAvavAmAM Ave. Ama A daSTAMtathI paNa vyavahAra vizeSagrAhI che ema nizcita thAya che. jema pUrva daSTAMtamAM lAkaDuM e ja prastha chatAM lAkaDAnI vizeSa AkRti siddha thAya tyAre ja te prasthanI kriyA karI zake che ane lokavyavahAramAM Ave che. tethI vizeSa prakAranuM lAkaDuM e prastha evA nAmane pAmI, mApaNIno lokavyavahAra siddha kare che. eTale ke saMka9pamAM rahela prastha

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AgamayuganA vyavahAra ane nizcayanayo : 25 nahi, paNa bAhya prasthanI AkRti dhAraNa karelo padArtha lokamAM prasthanuM kAma Ape che. mATe te ja prastha vyavahAranayano viSaya che. A prakAre pUrvokta banne dRSTAMto dvArA vyavahAranaya vizeSagrAhI che e vAtane samarthana maLe che. je bheda che te e ke naigame saMkalpanA viSaya lAkaDAne paNa prastha kahyuM ane vyavahAre prasthAkAra lAkaDAne prastha kahyuM. Ama AmAM drazya ane tenA paryAyane najara samakSa rAkhI prastha daSTAMta che; jyAre vasati dRSTAMtamAM avayava ane avayavInA vicAranA AdhAre naigama-vyavahAranI vicAraNA karI hoya tema jaNAya che. kAraNa ke naigame to samagra lokarUpa avayavI dravyane potAno viSaya banAvI uttarottara saMkucita evA khaMDone te sparze che ane chevaTe vizuddhatara maigama tenA saMkucitatara pradezane pakaDIne nivAsasthAnano nirdeza kare che. naigame cIMdhI ApelA te pradezane ja vyavahAra paNa vyaktinA nivAsasthAna tarIke svIkArI le che. Ama akhaMDa dravyamAMthI tenA khaMDane vyavahAra sparze che. A dRSTie prastha ane vasati dRSTAMtano bheda hoI Ane dravya nahi paNa mukhyapaNe kSetranI dRSTie dRSTAMta ApyuM che tema kahI zakAya. anuyogadvAramAM (s0 144) trIjuM udAharaNa pradeza dRSTAMtanuM che. AmAM koI kahe che ke saMgrahanayane mate pAMcanA (dravyanA) pradeza che te A pramANe--dharmapradeza, adharmapradeza, AkAzapradeza, jIvapradeza ane skaMdhapradeza. paNa AnI sAme vyavahAranayanuM kathana che ke tame je pAMcanA (dravyanA) pradeza kaho cho te kharAkhara nathI; temAM to bhrama thavAne saMbhava che; jema ke koI kahe ke pAMca goSTika (eka kuTuMbanA) puruSonuM suvarNa che to temAM te suvarNa upara sauno sarakho bhAga lAge; tema pAMcanA pradeza kahevAthI te pradezo pAMcenA gaNAya--koI ekanA nahi. mATe kahevuM joIe ke pradezanA pAMca prakAra che. Ama saMgrahamAM pradeza sAmAnya mAnIne nirUpaNa hatuM jyAre vyavahAramAM pradeza vizeSane prAdhAnya ApavAmAM AvyuM che; arthAta vyavahAra bhedapradhAna che. vyavahAranayanA A dRSTAMtathI spaSTa thAya che ke vyavahAramAM upayogI sAmAnya nahi paNa tenA bhedo che eTale te bhedamUlaka vyavahArane prAdhAnya Ape che. pUrvokta be dRSTAMto ane AmAM zo bheda che e prazna vicAraNIya che. prastha dRSTAMta to spaSTapaNe dravya ane tenA paryAya viSe che; eTale ke UrdhvatAsAmAnya dravya ane tenA paryAyo viSe che, vasati dRSTAMtamAM dravya ane tenA pradezanI vAta che; eTale ke eka ja dravyanA khaMDanI vAta che. "mAmAM te khaMDane paryAya kahI to zakAya, paNa te pariNamanane kAraNe nahi, paNa khaMDane kAraNe. eTale mukhya rIte A dRSTAMta dravyavyavahAranuM nahi paNa kSetravyavahAranuM che. ane pradezadaSTAMta je chelluM che temAM dravya sAmAnya eTale UrdhvatAsAmAnya nahi paNa tirthaMg sAmAnya samajAya che ane pachI te sAmAnyanA vizeSo, bhedo ke paryAyono vicAra che. Ama A traNe dRSTAMto eka rIte bhegrAhI, vizeSagrAhI, paryAyagrAhI chatAM temAM vyavahArano sUkSma bheda vivakSita che. vyavahAranaya bhedagrAhI che--A vastu AcArya pUjyapAde vyavahAranayanI je vyAkhyA karI che te parathI paNa siddha thAya che. parasAmAnyamAMthI uttarottara aparApara sAmAnyanA bhedo karavA evI vyAkhyA pUjyapAde vyavahAranI bAMdhI ApI che. A carcAnA prakAzamAM jo ApaNe anuyoga sUtragata vyavahAranI "vazvak viLichiMyathaeN vavahAro savvalvemu'--(anuyo. sUtra 152 pRSTha 264; A gAthA AvazyakaniryuktimAM paNa che--gA. 756) A vyAkhyAno artha karIe to sarvadravyomAM vinizrita arthane; eTale ke sAmAnya nahi paNa vizeSe karI nizcita arthAt uttarottara bhedone--vizeSone vyavahAra potAno viSaya banAve che--evo spaSTa artha phalita thAya che. AnA prakAzamAM AcArya haribhadre vyavahAranayanA anuyogagata lakSaNuno je artha karyo che te vyAjakhkhI re che. temaNe vyAkhyAmAM kahyuM che ke 'prati nizcei yAM hraya, adhizcayo nizcayaH : = sAmAnyam / vigato nizcayaH vinizcayaH = vigatasAmAnyamAva:' (pR0 124) arthAt vyavahAranayane

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26 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava cartha mate sAmAnya nahi paNa vizeSa mukhya che. e ja AcAryo vaLI AvazyakaniyuktinI vyAkhyAmAM A pramANe kahyuM che : "viSe nizcayo vinizcaya ? mAnovAranAdyavarodho na tithavitsaddhi ti " AvarAniryukti hAri0 gA0 756; AnA bhASya mATe juo vizeSA2213thI. banne vyavahAramAM lokonusaraNa nizcayanA anusaMdhAnamAM vyavahAra ane sAtanayanA eka prakAra tarIke vyavahAra e bannemAM je vastu sAdhAraNa che te e ke te vizeSagrAhI che, ane vaLI bane vyavahAranayo lokavyavahAramAM upayogI vizeSane mahatva Ape che. vizeSa sthala buddhigrAhya che paNa sAmAnya sUkSma buddhigrAhya che, ane lokavyavahAra to sthala addhithI ja vizeSa thAya che tethI nizcayanA anusaMdhAnamAM vyavahAranayane mukhyarUpe lokavyavahArane anusaranAra mAnavAmAM Avyo ane sUkSmabuddhigrAhya vastune nizcayano viSaya mAnavAmAM AvI. ane A skUla-sUmanA vicArabhedamAMthI ja nizcaya ane vyavahAranayanI AkhI vicAraNAe krame karI mAtra dravyAnuyoganuM ja nahi paNa caraNAnuyoganuM kSetra paNa sara karyuM che. ahIM e paNa dhyAnamAM rAkhavuM jarUrI che ke sAta yAntargata vyavahArane viSe te vizeSane viSaya kare che e vAtanuM samarthana karyA pachI paNa 'vichiyaEUR' e padano bIjo je artha AcArya jinabhadra kare che, te nizcayanayanA anusaMdhAnamAM AvatA vyavahArano je artha che tenuM anusaraNa kare che; eTale ke Agamagata bhamarAnuM dRSTAMta ApIne janapadamAM prasiddha je artha tene vyavahAra viSaya kare che ema jaNAve che--viroSAgA. 2220. AthI sAta jAntargata vyavahAra ane nizcayanA anusaMdhAnamAM Avato vyavahAra ane najIka AvI jAya che. 4. niyuktimAM vyavahAra ane nizcaya pRthvI Adi kAya viSe AvazyakanI ane bIjI niryuktiomAM vyavahAra-nizcayanuM kSetra vyApaka banyuM hoya tema jaNAya che. AcAranA kSetre aneka prazno UbhA thatA hatA tethI AcAra viSe ane tene sparzatA dravyAnuyoganA padArtho viSe paNa spaSTIkaraNa karavAnI AvazyaktA UbhI thaI hatI. tethI ApaNe niryuktiomAM evAM spaSTIkaraNo joIe chIe. zramaNoe skUla-sUkSma sarva prakAranA jIvanI hiMsAthI bacavAnI pratijJA lIdhI hoya che. skUla jIvo to dekhAya eTale temanI hiMsAthI bacavuM sarala hatuM, paNa sUkSma jIvo dekhAtA nathI AthI temanI hiMsAthI kevI rIte bacavuM, e samasyA hatI. sAmAnya rIte jotAM jyAM ema lAge ke ahIM sUkSma jIvano saMbhava nathI tyAM paNa kevalInI dRSTie sUkSma jIvono saMbhava hoya ema bane ane vaLI jyAM sUkSma jIvono sAmAnya rIte saMbhava manAya tyAM paNa kevaLIne sUkSma jIvono abhAva jaNAya evuM paNa bane che. to ene prasaMge sAdhaka, jene kevaLa jJAna nathI, te zuM kare ? AvA ja koI praznamAMthI pRthvI Adine vyavahAra ane nizcaye sacitta--acitta mAnavAnI prakriyA zarU thaI haze, teno paDagho niryuktimAM paDyo che. piMDaniryuktimAM nizcaya ane vyavahAradaSTie sacitta pRthvIkAyathI mAMDI sacitta vanaspatikAya sudhIno vicAra karavAmAM Avyo che. -piMDaniryukita gA10-11; 16-17; 35-36; 38-39; 43-44. pRthavIkAya viSe kahevAmAM AvyuM che ke nizcayathI sacitta pRthvIkAya parvatAdino madhya bhAga che, paNa vyavahArathI sacitta pRthavIkAya acitta ane mizrathI bhinna hoya te jANavI. A ja pramANe aDyA

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AgamayuganA vyavahAra ane nizcayanayo: ra7 Adi viSe kahevAmAM AvyuM che ke taLAva, vAva AdinuM pANI vyavahArathI sacitta che ane lavaNAdi samudranA madhya bhAga vagerenuM pANI nizcayathI sacitta che. e ja pramANe tejaskAya Adi viSe paNa vyavahAra-nizcayathI vicAra karavAmAM Avyo che. ema kahevAyuM che ke taLAvanuM pANI sAmAnya rIte sacitta ja hoya che paNa bhagavAna mahAvIre potAnA kevaLa jJAnavaDe jANyuM ke amuka taLAvanuM pANI acitta thaI gayuM che ane chatAM paNa tenuM pANI pIvAnI anujJA temaNe potAnA ziSyone ApI nahi. te eTalA mATe ke AgaLa upara A uparathI dhaDo laI bIjA sAdhuo tevA ja bIjA taLAvanA pANIne acitta mAnI pIvAnuM zarU kare to doSa lAgavAno saMbhava hato. AthI tevA doSane TALavA mATe temaNe te viziSTa taLAvanA pANIne pIvAnI paNa anujJA na ApI, kAraNa ke sAmAnya rIte taLAvanuM pANI sacitta ja hoya che eTale temaNe je taLAvamAM sukSma jIvono abhAva joyo hato tene paNa vyavahAradaSTie sacitta mAnavA preraNA ApI ane tenuM pANI pivAnI anujJA ApI nahi. - nizItha gAve 4859; brahaka5 999. nizcaya-vyavahArathI sacittano Avo ja vicAra oghaniryukitamAM paNa karavAmAM Avyo che. - oghaniryukita gA0 337-363. AtmavighAta viSe pikaniyuktimAM dravya AtmA ane bhAve AtmAnA bheda pADavAmAM AvyA che, jJAnAdi guNavALuM je dravya te dravyAtmA che eTale ke pRthvIkAya Adi chavAstikAya kahyuM te dravyAmAM che, ane jJAna-darzanacaraNa (cAritra) e traNa bhAvAtmA che. paranA prANAdino vadha karanAra sAdhu te paranI ghAta to kare ja che, paNa sAthe sAthe te potAnA caraNarUpa bhAva AtmAno paNa vighAta kare che tyAre prazna thAya che ke to pachI te vakhate tenA jJAnAtmA ane darzana AtmA viSe zuM mAnavuM ? uttaramAM vyavahAra ane nizcayanayano Azraya karIne kahevAmAM AvyuM che ke nizcayanayane mate caraNAtmAno vighAta thayo hoya to paNa vadha mAnavo joIe; ane vyavahAranayane mate caraNAtmAno vidhAta thayo hoya to jJAna-darzana AtmAnA vidhAtanI bhajanA che. -piDaniryukita gA10-105. AnuM rahasya ema jaNAya che ke nizcayanaya e ahIM evaMbhUta naya jevo che. eTale te kALe caraNAtmavighAta kaho ke AtmavighAta kaho emAM kazo bheda nathI. tethI jyAre caraNAtmAno vighAta thayo tyAre tadabhinna jJAna-darzana AtmAno paNa vighAta thayo ja che, kAraNa, caraNaparyAyanuM prAdhAnya mAnIne AtmAne caraNAtmA kahyo che paNa ghAta to paryAyApanna AtmAno ja thayo che. tethI te paryAyanI sAthe kAlAdinI apekSAe anya paryAyono abheda mAnIe to caraNAtmAnA vidhAta sAthe jJAna-darzanAtmAno paNa vighAta ghaTI jAya che. vyavahAranaya e bhedavAdI hoI caraNa eTale mAtra caraNaja; tethI caraNanA vighAta sAthe jJAna- darzanano vidhAta jarUrI nathI, tethI vyavahAraye bhajanA kahevAmAM AvI che. caraNavidhAte jJAna-darzanavidhAta mAnavo joIe e nizcayanayane khulAso bhASyayugamAM je karavAmAM Avyo che te viSe AgaLa upara kahevAmAM Avaze. kAla viSe zramaNanI dinacaryAmAM kAlane mahatvanuM sthAna che, AthI kAlavicAra karavo prApta hato. gaNitanI madadathI vizuddha dinamAna kADhI pachIno vicAra karavAmAM Ave te nizcayakAla jANavo paNa lokavyavahArane anusarI paurUSI mAnI vyavahAra karavo te vyavahArakAla che. - oghaniryukita gA0 282-283.

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28 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava cantha vaLI, Avazyaka niryukitanI cUrNa (pR42)mAM khulAso karavAmAM Avyo che ke nizcayanayane mate kavyAvabaddha kSetrathI kAla judo nathI. vyAvabaddha kSetranI je pariNati te ja kAla che. jemake gati pariNata sUrya jyAre pUrva dizAmAM dekhAya tyAre te pUrvANu kahevAya; ane jyAre te AkAzanA madhyamAM upara dekhAya tyAre madhyAhnakAla che; ane jyAre gatipariNata te sUrya pazcima dizAmAM dekhAya te aparahaNakALa kahevAya. mATe nizcayanayane mate dravyapariNAma e ja kAla che. mUla AgamamAM jyAre jIva-jIvane kAla kahevAmAM AvyA tyAre A ja nizrayadaSTino Azraya levAmAM Avyo hato ema mAnavuM rahyuM. sAmAyika kone ? niryuktimAM sAmAyika kone prApta thAya che teno gatyAdi aneka bAbatomAM vicAra karavAmAM Avyo che. temAM dRSTi eTale samyagdarzanane laIne je vicAra che te vyavahAra ane nizcaya bane dRSTie karavAnI sUcanA ApI che; eTale ke vyavahAraneye sAmAyika vinAnAne ja sAmAyika thAya ane nizcaya sAmAyika saMpajane ja sAmAyika thAya. -Avazyaka niryukita gAi 814 (dIpikA) ahiMsA vicAra oghaniryuktimAM upakaraNanA samarthanamAM jaNAvavAmAM AvyuM che ke bAhya upadhi chatAM je zramaNa AdhyAtmika vizuddhi dharAvato hoya to te aparigrahI ja kahevAya che.-A che nizcayadaSTi "ajjhatthavisohie uvagaraNaM bAhiraM prihrNto| appariggahItti bhaNio jiNehiM telukkdNsiihiN||" -- ghanio gA0 745 AmAMthI ja hiMsA-ahiMsAnI vicAraNA karavAnuM paNa anivArya thayuM; kAraNuM, je kAMI anya bato che tenA mULamAM to ahiMsAvRta ja che. eTale niyaMtikAra kahe che ke ahiMsAno AdhAra paNa Atmavizuddhi ja che. A saMsAra to jIvothI saMkula che; temAM jIvavadha na thAya ema bane nahi, paNa zramaNanI ahiMsAno AdhAra tenI Atmavizuddhi ja che- "ajjhappavisohIe jIvanikAehiM saMthaDe loe / desiyamahiMsagattaM jiNehiM telokadaMsIhiM / / 747 // " kAraNa ke apramatta AmAM ahiMsaka che ane pramatta AtmA hiMsaka che-A nizcaya che. "AyA ceva ahiMsA AyA hiMsatti nicchao eso|| jo hoi appamatto ahiMsao hiMsao iyaro // 754 // " AnI TIkAmAM zrImadda droNAcArya jaNAve che ke lokamAM hiMsA-vinAza zabdanI pravRtti jIva ane ajIva bane vize thatI hoI taigamayane mate jIvanI ane ajIvanI bannenI hiMsA thAya che ema che. ane te ja pramANe ahiMsA viSe paNa che. saMgraha ane vyavahArane mate paNa jIvanikAyane viSe hiMsAno vyavahAra che; arthAta ahiMsAno vyavahAra paNa te nayone mate pachavanikAya viSe ja che. RjusUtranayane mate pratyeka jIva viSe judI judI hiMsA che. paNa zabda-samabhirUDha ane ebhUta nayone mate AtmA ja hiMsA ke ahiMsA che. A ja nizcayanayano abhiprAya che. nizcayanaya e dravya ane paryAyano bheda mAnIne nahi, paNa paryAyanuM prAdhAnya mAnI potAnuM maMtavya rajU kare che; eTale ke AtmAnI hiMsA ke ahiMsA nahi paNa AtmA ja hiMsA ke ahiMsA che-ema nizcayanayanuM bhantavya che.

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AgamayuganA vyavahAra ane nizcayanaya : ra9 niryukitakArane mate je zramaNa yatamAna hoya; eTale ke apramatta hoya tenAthI thatI virAdhanA e baMdhakAraNa nathI, paNa tenI Atmavizuddhane kAraNe te nirjarArUpa phala denArI che. je nizcayanayanuM avalaMbana le che ane je samagra Agamano sAra jANe che tevA paramaSionuM parama rahasya e che ke AtmapariNAma e ja hiMsA ke ahiMsA mATe pramANa che ane nahi ke bAhya jIvanI hiMsA ke ahiMsA. paraMtu A nizcayanI vAtanuM keTalAka loko avalaMbana to le che, paNa tenA vizeno yathArtha nizcaya eTale ke kharA rahasyanuM yathArtha jJAna jemane nathI, teo to bAhya kriyAmAM pramAdI thaIne cAritramArgano lopa ja kare che. sArAMza e che ke pariNAma para ja bhAra mUkI jeo bAhya AcaraNa; eTale ke vyavahArane mAnatA nathI teo cAritramArganA lopaka che--mATe vyavahAra ane nizcaya baneno svIkAra jarUrI che - "jA jayamANasta bhave virAhaNA suttavihisamaggassa / sA hoi nijaraphalA ajjhatthavisohijuttassa // paramarahassamisINaM samattagaNi piDagajharitasArANaM / pariNAmiyaM pamANaM nicchayamavalaMbamANANaM // nicchayamavalaMbaMtA nicchayao nicchayaM ayaannNtaa| nAsaMti caraNakaraNaM bAhirakaraNAlasA kei / / " - nirgu i759-61 "Aha-yadyayaM nizcayastato'yamevAlambyatAM kimanyeneti ? ucyate--nizcayamavalambamAnAH puruSAH 'nizcayataH paramArthato nizcayamajAnAnAH santo nAzayanti caraNakaraNam / katham ? 'bAhyakaraNAlasAH' bAhya vaiyAvRttyAdi karaNaM tatra alasAH-prayatnarahitAH santazcaraNakaraNaM nAzayanti / kecididaM cAGgIkurvanti yaduta parizuddhapariNAma eva pradhAno na tu bAhyakriyA / etacca nAGgIkartabyam / yataH pariNAma eva bAhyakriyArahitaH zuddho na bhavatIti / tatazca nizcaya-vyavahAramatamubhayarUpamevAGgIkartavyamiti / " - oghaniyukti TIkA gA0 711 vaMdanavyavahAra viSe zramaNomAM vaMdanavyavahAranI rIta evI che ke je che eTale ke dIkSA paryAye jayeSTha hoya-vayathI yeSTa hoya te vaMdya che. paNa jyAre sUtravyAkhyAna thatuM hoya tyAre je sUtradhAraka hoya tene yeka mAnIne bIjA vaMdana kare. A prakAranA vyavahAra uparathI prazna upasthita thayo ke sUtradhArakane paNa je kahI zakAtA hoya to jeo mAtra dIkSA paryAyathI--vayathI cha hoya ane sUtra ke tenuM vyAkhyAne jANatA na hoya temane vaMdana karavAthI zo lAbha?-- "coeti jai hu jiho kahiMci suttatthadhAraNAvigalo / vakkhaNaladdhihINo niratthayaM vaMdaNaM tammi // " - Ava. ni. gA0 712 (dIpikA) vaLI sUtravyAkhyAna prasaMge jayekanI vyAkhyAmAM vayajayeka karatAM ratnAdhikane cha mAnavo ema manAyuM to pachI ratnAdhika zramaNa bhalene vayathI ladhu hoya paNuM je vayathI je evo zramaNa tenI pAse vaMdana karAve to te zuM e ratnAdhikanI azAtanA nathI karato ?-- "aha vayapariyAehiM lahugo vi hu bhAsao ihaM jeho / rAyaNiyavaMdaNe puNa tassa vi AsAyaNA bhaMte // " - Ava. ni. gA0 713 (dIpikA)

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30 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava cartha A zaMkAonuM samAdhAna karavAmAM AvyuM che ke jyanI vyAkhyA prasaMganusAra karavAmAM Ave che. sAmAnya rIte vratagrahaNano paryAya jayeSTanA nirNayamAM kAma Ave che, paNa sutravyAkhyAnaprasaMgamAM to vrataparyAyane nahi paNa labdhine mukhya mAnavAmAM Ave che. ane AthI sUtravyAkhyAna karavAnI jenAmAM labdhi hoya te vayathI bhalene laghu hoya paNa te cha gaNAya. AthI evA ratnAdhika jaNane vayajeThe vaMdana karyuM temAM kazuM ja anucita nathI. vaLI vyAkhyAna prasaMge to vayajeyeThe namaskAra karyo che AthI ratnAdhikanI AzAtanAno prasaMga paNa nathI. "jaha vi vayamAiehiM lahao stttthdhaarnnaapdd'o| vakkhANaladdhimaMto so ciya iha gheppaI jeho / AsAyaNA vi NevaM paDucca jiNakyaNabhAsayaM jamhA / vaMdaNayaM rAiNie teNa guNeNaM pi so ceva // " -- Avo ni gAva 714-715 (dIpikA) AcAryo Avo nirNaya Apyo te pAchaLa temanI dRSTi zI hatI tenuM spaSTIkaraNa temaNe vyavahAra ane nizcayanayanA avalaMbanathI karyuM che. temaNe jaNAvyuM che ke vyavahAranuM anusaraNa karavAmAM Ave tyAre vaya e yeSTha gaNAya. paNa nizcayanayane mate to dIkSA paryAya ke vaya e pramANa nathI, paNa guNAdhiya e pramANa che. mATe bane jyone AdhAre prasaMga pramANe vartana karavAmAM kazo ja doSa nathI. jaina dharmamAM eka ja naya nahi, paNa banne naya jyAre maLe tyAre te pramANu bane che. mATe bane nayone mAnIne prasaMganusAra vaMdanavyavahAra karavo. A banne nayone mahattva ApavuM eTalA mATe jarUrI che ke guNAdhiya e AMtarika bhAva che ane sarve prasaMge e AMtarikabhAvanuM jJAna kvArtha mATe saMbhava nathI, mATe jyAM AMtarika bhAva jANavAmAM Ave e prasaMge tene mahatva ApI vaMdanavyavahAranI yojanA nizraya. dachine mahatva ApI karavAmAM Ave temAM kazuM khoTuM nathI, paNa sAmAnya rIte to dIkSA paryAye je 4 hoya tene ja mAnIne vaMdanavyavahAranI yojanA vyavahArane karavI e sugama lokasaMmata mArga che, kAraNa, guNAdhiya jANavuM lokane mATe sugama nathI, paNa dIkSA paryAya jANavo sugama che; eTale vyavahAra mAnI lIdhuM ke jeno dIkSA paryAya vadhAre te moTo eTale vaMdanIya "na vao ettha pamANaM na ya pariyAo vi NicchayamaeNa / vavahArao u jujai ubhayanayamayaM puNa pamANaM / / nicchayao dunneyaM ko bhAve kammi vaTTai smnno| vavahArao u kIrai jo puvvaThio carittammi // " - Ava. ni. gA0 716-17 (dIpikA) AmAMnI aMtima gAthA bRhatka9pabhASyamAM paNa che, juo gA0 450 6. saMdha vyavasthA jALavavA mATe A prakArano vyavahAra jarUrI che, anyathA guNajayeka gaNAvA sau prayatna kare ane avyavasthA UbhI thAya. ane guNanuM parIkSaNa sarvathA saMbhava nathI, tema sarvathA asaMbhava paNa nathI, mATe sAmAnya vyavahAra evo ke vrataka te peTa ane vaMdanIya paraMtu vizeSa prasaMge jyAM guNAdhijyanA jJAnano nizcaya thAya tyAM te guNAdhika puruSa paNa vaMdanIya bane. A ja kAraNe lokadaSTithI athavA to vyavahAranayathI karelI vyavasthAne svayaM ahaMta-kevaLIbhagavAna paNa anusare che-evuM spaSTIkaraNa mULa bhANakAre karyuM che. A ja vyavahAranI baLavattA che. mULa bhANakAra jaNAve che ke vyavahAra paNa baLavAna che. kAraNa ke tyAM sudhI gurane evI jANa na hoya ke mAro ziSya kevaLI thaI gayo che tyAM sudhI te ahaMta potAno dharma samajIne chAstha evA gurune vaMdana kare che

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AgamayuganA vyavahAra ane nizcayanaya : 31 "vavahAro viha balavaM jaM chaumatthaM pi baMdai arhaa| jA hoi aNAbhiNNo jANato dhammayaM eyaM // " ---Ava ni mUla bhASya-123 A gAthA bahuka95 bhASyamAM paNa che. juo gA0 4507. niryuktigata vyavahAranizcayanI je carcA che te eka e vAta siddha kare che ke vyavahAramAMthI yathArthatAno aMza ocho thAya che, eTale ke AgamamAM vyavahAranuM tAtparya evuM hatuM ke temAM satyano--yathArthatAno aMza hato; jemake vyavahAradRSTie jyAre bhramarane kALo kahevAmAM Avyo tyAre temAM kALo guNa hato, paNa teno sadaMtara abhAva hoya ane bhamarAne kALo vyavahAranaye kahyo hoya ema nathI. nizcayanaya kALA uparAMta bIjA vaNanuM astitva kahe che, paNa kALAno abhAva batAvato nathI. vaLI, prasthane vyavahAramAM laI zakAya evA AkAravALuM lAkaDuM thAya tyAre prastha tarIke vyavahAranayane saMmata hatuM. e paNa batAve che ke lokavyavahAranA mULamAM yathArthatA tarapha durlakSa karavAmAM AvyuM nathI. AthI vyavahAranaya yathArthathI taddana nirapekSa nathI. paNa niyukti kALamAM vyavahAramAM A yathArthatA uparAMta aucityanuM tatva; eTale ke mUlyanuM tattva umerAyuM che. Ane kAraNe vyavahAranayanuM kSetra vyApaka banyuM che. saMsAramAM vayathI je jayeSTha hoya te jayeSTha gaNAya che teno to svIkAra vyavahAranaya kare ja che, paNa nizcayanayanI dRSTie vayaka karatAM guNajayenuM mahattva hoI nizcayanayamAM vayano ceka tarIke svIkAra nathI. bhamarAno kALo guNa nizcayanayanI dRSTie ayathArtha nathI, paNa te dhaNAmAMno eka che, A vicAraNuM yathArthatAne AdhAra mAnIne thaI che, paNa jayeka kone kahevo e vicAraNAmAM vyavahAra-nizcayane AdhAra yathArthatAne badale malyAMkana che. AthI A kALamAM dravya ane bhAvano arthavistAra paNa thayo che. bAhya lokAcAra e dravya, ane tAvika AcAra e bhAva, vyavahAranaya AvA dravyane ane nizcayanya AvA bhAvane mahatva Ape che. AthI ja je tatvadRSTie; eTale ke yathArthanI dRSTie acitta hatuM tene paNa lokAcAra-vyavahAranI sugamatA ane vyavasthAnI dRSTie sacitta mAnavAmAM AvyuM. Ama vyavahAra lokonusaraNa karavA jatAM ayathArtha tarapha paNa vaLI gayo che. vyavahAranayanuM A valaNa bauddhonI saMskRti ke vedAMtanA vyavahAra jevuM che. paNa sAthe sAthe tenuM je mULa valaNa te paNa A kALamAM cAlu rahyuM che tenI noMdha paNa levI joIe. vaLI, nizcaya paNa A kALe paramArtha ke tatva tarapha jaI rahyo che, eTale ke te vyavahArathI sAva chUTo thavA jaI rahyo che. vaLI, lokavyavahAramAM bhASA mukhya bhAga bhajave che; ane ghaNIvAra bhASA tattvathI juduM ja jaNAvatI hoya che. paNa loko vicAra karyA vinA atAvikane tAvika mAnI vyavahAra calAvatA hoya che. A prakAranA atAvika vyavahArane sthAne tAvika vAtanI sthApanA e nizcayano udeza bane che. AthI kahI zakAya ke lokanuM eTale samAjanuM, bahujananuM satya e vyavahAranaya, paNa koI virala vyakti mATenuM satya te nizcayanaya che. e be vacceno Avo bheda A kALamAM spaSTa thAya che. 5. bhAgomAM vyavahAra ane nizcaya lokavyavahAraparaka ane paramArthaparaka - vyavahAra ane nizcayanayanI Agamagata bhUmikAmAM ApaNe joI gayA chIe ke eka skUlagAmI che ane bIjo sUkSmagAmI che. A ja vastune laIne AcArya jinabhadde spaSTIkaraNa karyuM che ke vyavahAranaya e

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32 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thastha lokavyavahAraparaka che ane nizcayanaya e paramArthaparaka che. A vastuno nirdeza temaNe bhagavatIsUtragata udAharaNano AdhAra laIne ja karyo che - "logavyavahAraparo vavahAro bhaNai kAlao bhmro| paramatthaparo bhaNai Necchaio paMcavaNNotti // " -vizeSA gA0 3589 AcArya jinabhadra kevaLa vyavahArane ja nahi, paNa naigamane paNa lokavyavahAra para jaNAvyo che- "jamavaMvadAra stronaghavArataqRT" -vizeSao 37 paNa jyAre bhASyakAra vyavahAranayane lokavyavahAraparaka jaNAve che ane nizcayane paramArthaparaka jaNAve che tyAre e paNa dhyAnamAM levuM joIe ke niyuktikALamAM te nayono je kSetra vistAra ane arthavistAra thayo hato te paNa bhASyakALamAM cAlu ja che. te have ApaNe joIzuM. vyavahAra-nizcaya ane no AcArya jinabhake jyAre vyavahArane lokavyavahAraparaka kahyo ane nizcayanayane paramArthaparaka kahyo tyAre vaLI temane te bannenI eka judA ja prakAre vyAkhyA karavAnuM sUjhayuM. ApaNe jANIe chIe ke AcArya jinabhadra jaina darzanane sarvanayamaya kahyuM che, eTale ke je judAM judAM darzano che te ekeka nayane laIne cAlyA che, paNa jaina darzanamAM sarva nayono samAveza che--"phUmiTTa salULacama kimatanAvajJamacaMta"--viroghA 72 . temaNe kahyuM che ke - ___ "ahaveganayamayaM ciya vavahAro jaM na savvahA savvaM / savvanayasamUhamayaM viNicchao jaM jahAbhUaM // 3590 / / " - vizeSA saMsAramAM je vividha mato che te ekeka nayane AdhAre che, tethI te vyavahAranaya kahevAya kAraNa ke temAM sarva vAtuno vicAra sarva prakAre karavAmAM Avato nathI, paNa sarvanayanA samUharUpa je mata che, eTale ke je jaina darzana che, te nizcayanaya che, kAraNa ke te vastune yathAbhUtarUpeyathArtharUpe grahaNa kare che. Ano artha e thayo ke lokamAM je vividha darzano che te vyavahAradarzano che ane jaina darzana te pAramArthika darzana hoI nizcayadarzana che. vaLI, nizcayanaya jo sarvanono samUha hoya to te pramANarU5 thayo athavA to anekAMta ke syAdAda thayo e paNa eno artha samajavo joIe; eTale ke nizcaya" e yazabdathI vyavahata chatAM te sarvanayonA samUharUpa che. eTale te naya to kahevAya ja, chatAM paNa tenuM bIjuM nAma pramANa che, ema darzanakALamAM spaSTa jaNAvavAmAM AvyuM che. nayone zuddha azuddha vibhAga AgamonI niyukti-bhAgya-cUNi Adi TIkAomAM vyavahAra-nizcayanayo dvArA vicAraNAnuM kSetra vyApaka banyuM che. temAM dravyAnuyoga uparAMta caraNanuyogamAM paNa nizcaya-vyavahArano praveza thayo che. ane vaLI nizcayana eTale zuddhanaya ema paNa mAnavAmAM AvyuM che. AnA mULamAM samagranayo viSe zaddha naya ane azuddha naya kayo evo je vicAra karavAmAM Avyo che, te che. ApaNe anuyogadAranI A pUrve karelI carcAmAM joyuM che ke temAM nigamanaya uttarottara avizuddhamAMthI vizuddha, vizuddhatara, vizuddhatama

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AgamayuganA vyavahAra ane nizcayanayo : 33 kema bane che tenI vicAraNA to hatI ja. tene AdhAre samagra niyonA saMdarbhamAM zuddha-azuddhanI vicAraNA karavI e TIkAkAro mATe sarala thaI paDe tema hatuM. AvI vicAraNA AcArya jinabhadranA vizeSAvazyaka bhANamAM ane tenI TIkAmAM thayelI jovA maLe che. temaNe sAmAyikakriyAnA karaNa viSenA vicAra prasaMge badhA nayone be vibhAgamAM vaheMcI nAkhyA che. zuddha ane azuddha-ane kahyuM che ke azuddha nayonI apekSAe te amRta che ane zuddha nayonI apekSAe kRta che. paNa samaya eTale ke siddhAnta evo che ke te kRtAkRta che. sArAMza e che ke vibhinna nayo tene kRta ke akta kahe che paNa syAdvAdane AdhAre tene kRtAkRta mAnavuM joIe--eTale ke pramANa dRSTie te kRtAkRta che. -vizeSAgA0 3370 A gAthAnI TIkA svapajJa to maLatI nathI, kAraNa ke te adhUrI ja rahI gaI che paNa tenI pUrti karanAra koDhAryanI TIkAmAM jaNAvavAmAM AvyuM che ke - "azudvanA: dravyArthagdhAnA naimitravyavahAra]: 1 teSAM matena akRtaM sAmAyika nityatvAt nabhovat / dravyArthataH sarvameva vastu nityamiti pakSadharmatvam / zuddhanayAstu RjusuutraadyH| teSAM matena kRtaM sAmAyikaM anityatvAt ghaTavat / paryAyArthataH sarvameva anityaM kRtakaM ca vastu iti pakSadharmatvam / evamekAnte bhaGgadvayam / atha kRtAkRtatvamubhayarUpaM syAdvAdasamayasadbhAvAt / tat punarubhayarUpatvaM dravyArthaparyAyArthanayavivakSAvazAt bhavati / " -vizeSa0 TImo sArAMza e che ke naigama, saMgraha ane vyavahArano vyArthapradhAna che; ane te azuddha navo che. dravyothapradhAna hoI te vastune nitya mAne che, paNa RjusUtrAdi eTale RjusUtra, zabda, samabhirUDha ane evaMbhUta e paryAyArthapradhAna che; ane zuddha nayo che. paryAyapradhAna hoI te no vastune anityarUpe mAne che paNa svAdamAM to badhA nayono samAveza hoI te dravya ane paryAya banene svIkArI vastune nityaniya mAne che. kodAryanI A TIkAnuM anusaraNa karIne A0 koTyAcArya ane A0 hemacaMdra maladhArI paNa zuddha-azuddha nayono ukta vibhAga mAnya rAkhe che. vaLI, eka vastu e paNa AmAM dhyAna devA jevI che ke nayo te eka-eka aMta hoI ekAMta che ane syAdAda te ekAMtono samanvaya karato hoI anekAMta che. jyonA AvA zuddhAzuddha vibhAgane dhyAnamAM rAkhIne ja AcArya jinabhake nizcayanayane zuddha naya kahyo che kAraNa ke temane te vyavahAra e azuddha nayamAM samAviSTa che te ApaNe upara joyuM. AcArya jinabhake mULa gAthAmAM "necchanayamaUST annA" (viroghA gA0 1151) ityAdi kahyuM che paNa tenI pote ja racelI TIkAmAM kahyuM che ke- "zuddhanAmiNAthoma"- ityAdi. AthI phalita thAya che ke teo nizcayanayane zuddha naya mAne che. nigama-saMgraha-vyavahAra e samagranI saMjJA vyAvahArika naya paNa che evo mata cUrNimAM vyakata thayelo che ane e ja prasaMge RjumUtrAdi cArane cUrNimAM zuddha nayane nAme oLakhAvyA che AthI e paNa phalita thaI jAya che ke zeSa jogamAdi azaddha naLyo che, jenuM bIjuM nAma vyAvahArikano paNa che.--"vavadArarAkhe 5 kAna saMg-4vAra vavadyAritti nahitA......3qsutA pu0 vANuM yuddhanA ...... Ava0 cUrNi pR0 430 / / A uparathI ApaNe joI zakIe chIe ke vyavahAra e azuddha naya che ane nikaya e zuddha naya che evo abhiprAya AgamanI TIkAnA kALamAM sthira thayo hato. vaLI, ahIM eka bIjI vizeSatA tarapha paNa dhyAna devuM jarUrI che; te e ke, AgaLa ApaNe su0 gra0 3

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34 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha joyuM ke, vyavahAra e vizeSane mAnI cAle che paNa zuddhAzuddhanA vibhAgamAM vyavahAra dravyArthika pradhAna che; eTale ke te sAmAnya mAne che ema kahevAya. ane nizcaya e paryAyArthika hoI vizeSane viya kare che. AnuM spaSTIkaraNa ema saMbhave ke vaizeSiko ane naiyAyiko jene sAmAnya vizeSa kahe che eTale ke je aparasAmAnyane nAme oLakhAya che te sattA sAmAnyanI apekSAe vizeSa chatAM potAnA vizeSonI apekSAe sAmAnya che, eTale tene apekSAde sAmAnya ke vizeSa kahI zakAya. tAtparya e thayuM ke vyavahAra parasAmAnyane nahi paNa a5rasAmAnyane viSaya kare che, je sattA sAmAnyanI apekSAe vizeSa che. AthI vyavahAranayane sAmAnyagrAhI kahyo che, ane vizeSagrAhI kahyo te, bannemAM kazo virodha raheto nathI, vyavahArano viSaya sAta nayamAM je vyavahAranaya che tenA viSayanuM vivecana karatAM bhASyakAra AcArya jinabhadra jaNAve che ke vizeSathI bhinna evuM sAmAnya koI che ja nahi kAraNa ke kharaviSANanI jema te upalabdha thatuM nathI- "na visesatthaMtarabhUamathi sAmaNNamAha vvhaaro| uvalaMbhavavahArAbhAvAo kharavisANaM va // " -vizeSAvazyaka bhASya-rUpa ApaNe prathama joI gayA chIe ke vyavahAranaya sAmAnyagrAhI nahi paNa vizeSagrAhI che; enuM ja ja A samarthana che. guladhu vize gurulaghuno vicAra tAtvika rIte ane vyAvahArika rIte nizcaya ane vyavahAranayo vaDe AcArya jinabha karyo che te prasaMga A pramANe che-Avazyaka niryukitamAM jaNAvavAmAM AvyuM hatuM ke audArika, vaikriyadi guladhu dravyo che ane karma, mana, bhASA e agurulaghu dravyo che. (vizeSA. gA0 658 e Avo ninI gAthA che, vaLI juo Avazyaka cUrNa pR0 29) A niryakatagAthAnuM spaSTIkaraNa karatAM AcArya jinabhadra jaNAve che ke vyavahAranayane mate koI dravya guru hoya che, jema ke leTu-akhAro. koI ladhu hoya che, jema ke dIpazikhA. koI gulaghu-ubhaya hoya che jema ke vAyu. ane koI agurulaghu-nabhaya hoya che jema ke AkAza. paNa nizcayanayane mate to sarvathA laghu ke sarvathA guru koI dravya hotuM ja nathI paNa bAdara-sthala dravya gurulaghu che ane bAkInA badhA dravyo agurulaghu che. -vizeSA gA0 659-660 A bAbatamAM vyavahAranaya prazna kare che ke je guru ke ladhu jevuM koI dravya hoya ja nahi to chavapulonuM gamana je Urva ane adhaH thAya che tenuM zuM kAraNa? ame to mAnIe chIe ke je laghu hoya te UrdhvagAmI bane ane je guru hoya te adhogAmI bane. AthI jIva-pulone guru ane laghu mAnavA joIe, kAraNa ke temanuM gamana UMce paNa thAya che ane nIce paNa thAya che--vizeSA gA. 661-662. mATe mAtra guladhu ane amulaghu ema be prakAra nahi paNa guru, laghu, guladhu ane agaI evA cAra prakAranA dravyo mAnavA joIe evo vyavahAranayano mata che. vyavahArane A mantavyano uttara nizcayanaya Ape che ke vyavahAranayamAM je urdhvagamananuM kAraNa laghutA ane adhogamananuM kAraNa gutA mAnavAmAM Ave che te anivArya kAraNa nathI kAraNa dravyanI laghutA ke gutA e judI ja vastu che ane dravyano vIryapariNAma e sAva juduM ja tattva che. ane vaLI dravyanI gati pariNAma te paNa juduM ja tattva che. AmAM kAMI kAryakAraNabhAva jevuM nathI. - vizeSA, gAtra 663

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AgamayuganA vyavahAra ane nizcayanayo H 35 Ama mAnavAnuM kAraNa evuM che ke paramaladhu manAtA paramANu paNa UMce javAne badale nIce paNa gamana kare che. to pachI temAM zo hetu mAnaze ? eTale ke je laghutA e UrdhvagamanamAM hetu hoya to paramANu UMce javAne badale nIce kema jAya ? tenA nIcA javAmAM laghutA sivAya bIjuM ja kAMI kAraNa mAnavuM rahyuM. vaLI dhUbhAdi je narI AMkhe dekhAya che te sthUla che chatAM te Urdhvagamana kema kare? jo sthUlatA e adhogamanamAM nimitta hoya to dhUma nIce javo joIe; paNa te to UMce jAya che. Ama kema banyuM ? vaLI, mahAguru evA vimAnAdi nIce javAne badale AkAzamAM UMce kema UDI zake che? vaLI, sAva sUkSma dehavALo deva paNa moTA parvatane kema UMco kare che ? -vizeSAgA. 664-665 je bhArI parvata nIce javAne badale UMco jAya che temAM devanA vIryane kAraNa mAnaze to vyavahAra saMmata gustA ekAMte adhogamananuM kAraNa che e ayukata Thare che; ane e ja pramANe laghutA e UrdhvagamananuM ekAMte kAraNa che e paNa ayukata Thare che-vaLI gati-sthiti pariNAmane kAraNe paNa jIva-pudgalonI gatisthita thatI hoI temAM paNa gurutA ke laghutAnI kAraNatAnuM atikramaNa che ja. AthI vyavahAranayano mata ayukta kare che. -vizeSA gA0 667 Ama prastutamAM lokavyavahAramAM je sthala daSTithI Urva-adhogamananA kAraNarUpe laghutAgurutAne mAnavAnI prathA hatI te viddha tattvavicAra karIne tenI kAraNutAno nirAsa nizcayanaya kare che. AmAM vyavahAra-nizcayanayano vicAra sAMskRtika-pAramArthika satyanA vicAra tarapha pragati karato hoya ema jaNAya che. vaLI nyAya vaizeSikamAM guruvamAtra mAnyuM che ane ladhutvane tenA abhAvarU5 mAnyuM che ane gurutvane kAraNe patana mAnyuM che te vicAra paNa AcAryanI samakSa che ja. jJAna-kriyA viSe kitanA vicAra prasaMge ApaNe joyuM che ke temAM jeno cAritrAtmA vihata thayo teno jJAna-darzana AtmA paNa vidhAtane pAmyo evo vicAra che. AnA ja anusaMdhAnamAM bhASyamAM nizcayanayane mate je ema kahevAmAM AvyuM che ke je jJAnanuM phaLa samyaga kriyAmAM na Ave to te jJAnane ajJAna mAnavuM varoSao 1151) te ukata pahAnI bIjI bAju rajU kare che. je prakAre cAritrano nAza thavAthI jJAna-darzana paNa naSTa thayelAM nizcayanaya mAne che te ja prakAre je jJAna, kriyAmAM na pariName to te jJAnane paNa ajJAna mAnavuM joIe evo nizcayano abhiprAya che. ahIM yathArthatA karatAM mUlyAMkananI daSTine mahattva ApavAmAM AvyuM che. zramaNajIvanamAM ke koI paNa jIvanamAM jJAna karatAM kriyAnuM mahattva eTalA mATe che ke mokSanuM sAkSAta kAraNa kriyA eTale ke cAritra bane che kAraNa ke kevaLajJAna thayA pachI paNa jyAM sudhI cAritranI parAkASThA nathI thatI tyAM sudhI mokSa nathI, AthI jJAna ane cAritra e bemAM cAritranuM mUlya mokSadaSTie vadhe che. AthI cAritranA tAve toLIne jJAnanI sArthakatA ke nirarthakatAne najara samRddha rAkhIne tenA jJAna-ajJAna evA bheda karavAmAM AvyA che, ane nahi ke tenI yathArthatA ke ayathArthatAne AdhAre. kartatva viSe - AcArya jinabhadra samakSa e prazna hato ke sAmAyika koNe karyuM? Ano uttara temaNe vyavahAra nizcayano Azraya laIne Apyo che ke vyavahArathI to te jinendra bhagavAna ane gaNadhare sAmAyika karyuM che ane nizcayanabhe to je vyakti sAmAyika kriyA kare che teNe ja te karyuM che. tAtparyArtha evo che ke sAmAyika zrata je bAhya che tenI racanA to tIrthakara ane gaNadhare karI che tethI te tenA kartA kahevAya.

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36 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thatha paNa sAmAyika e to samabhAvanI kriyA che ane te to AtmaguNa hoI je AtmA ne kriyA kare teNe ja te aMtaraMga sAmAyika karyuM hoI te ja teno kartA kahevAya. Ama sAmayika zrata ane sAmAyika bhAva e krame vyavahAra ane nizcayanA viSaya bane che. -vizeSA gA0 3382 samyakatva ane jJAnotpatti vize (kriyamANu-kRta viSe) kriyAkALamAM kAryanipatti mAnavI ke nivaThAkALamAM A jUno vivAda che, AnI sAthe asatkArya vAda ane kAryavAda paNa saMkaLAyelA che. bhagavAna mahAvIra ane jamAlIne matabheda paNa A viSe ja hato. A vivAdano vyavahAra ane nizcayanayanA matomAM samAveza karavAno prayatna A0 jinabhake bhASyamAM karyo che. temAM mithyAtvanA kSaya, upazama ke kSayopazama thaye samparva eTale ke samyagdarzana ane samyajJAnanI utpattinA prasaMge temaNe vyavahAra-nizcayanI je yojanA karI che te A pramANe che vyavahAranayane mate samyaktva ane jJAna jenAmAM na hoya eTale ke je mithyAdRSTi ane ajJAnI hoya tene samyakajJAna utpanna thAya che. paNa nizcayanayano mata che ke samyakta ane jJAnathI sahitane ja samyaga jJAna thAya che. "sammattanANarahiyassa nANamuppajjai tti vvhaaro| necchaiyanao bhAsai uppajjai tehiM sahiassa // " -vizeSA gA0 414. vaLI juo AvazyakaNi pR0 18, 23 ahIM vyavahAra ane nizcayanayo vacce je zaMkA-samAdhAna che te A pramANe che: vyavahAra : samajJAnIne samyajJAna thatuM hoya to to eno artha e thayo ke je jAta-utpanna sat che te ja utpanna thAya che, ajAta-asat nahi. paNa ApaNe joIe chIe ke je jAta che te utpanna thatuM nathI, paNa je ajAta hoya che te jAta-utpanna thAya che, jemake mATInA piMDamAMthI ajAta evo ghaDo jAta thAya che. paNa jo ghaDo prathamathI ja jAta hoya to tene upanna karavApaNuM kAMI rahetuM nathI; eTale ke tene viSe kazuM ja karavApaNuM rahetuM nathI, mATe ajAtanI utpatti mAnavI joIe, jAtanI nahi. ane vaLI jAtanI paNa je utpatti mAnavAmAM Ave, eTale ke je kRta che tene paNa karavAmAM Ave to pachI karavAno kayAMI aMta ja nahi Ave eTale ke kAryasamApti kadI thaze ja nahi. mATe mAnavuM joIe ke mithyAtvI jIvamAM sabhya ane samyajJAna utpanna thAya che, je tenAmAM prathama hatAM nahi, paNa ema na mAnI zakAya ke saMkhyajJAnIne samyajJAna utapanna thAya che. -vizeSA gAtra 415 vaLI, kRtane paNa karavAmAM Ave to kriyAnuM kAMI phaLa maLe nahi. ane vaLI pUrvamAM na hoya te ja kriyAnA phaLarUpe dekhAya che to tane karavApaNuM na hovAthI satanI kriyA nahi paNa asatanI kriyA mAnavI ghaTe. vaLI, evuM paNa nathI ke je kALamAM kriyA zarU thaI e ja kALamAM nipatti thAya, paNa dIrghakAlanI kriyA pachI ghaTAdi dekhAya che mATe tenI kriyAno kALa dIrdha mAnavo joIe. Ama vicAratAM mithyA jJAnIne dIrdhakALa pachI samyajJAna utpanna thAya che ema mAnavuM joIe. -vizeSA gA0 416 vaLI, koI paNa kAryano AraMbha karIe chIe tyAre AraMbhamAM to te dekhAtuM nathI, paNa kriyAnI samApti thaye te dekhAya che, mATe paNa kriyAkALamAM kAryane sata mAnI zakAya nahi, te ja rIte guru pAsethI tattvanuM zravaNa karavAnI kriyA cAlI rahI hoya tyAre tatkALe koI jJAna thaI jatuM nathI paNa

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AgamayuganA vyavahAra ane nizcayanayo : 37 zravaNAdi kriyAnI samApti thaye jJAna thAya che. sArAMza e che ke kriyAkALamAM kArya dekhAtuM nathI mATe te nathI paNa kriyAnI niSThA thaye te dekhAya che to kriyAkALamAM nahi paNa kriyAniSphAkALamAM te mAnavuM joIe. mATe mAnavuM joIe ke mithyAdaSTi ane annAnI samyaktva ane jJAnane pAme che, paNa samyagdaSTi ke samyagdAnI nahi. -vizeSA0 gA0 417 nizcayanaya : ajAta hoya te jAta thAya e mAnI zakAya tevI vAta nathI, kAraNa ke je ajAta che te abhAvarUpa che ane abhAvanI to khaviSANunI jema utpatti saMbhavatI ja nathI. mATe ajAtanI utpatti mAnavI joI e he. ane jo ajAta paNa utpanna thatuM hoya to kharaviSANu paNa utpanna thAya. mATe asattnI nahi paNa satanI utpatti mAnavI joI e. AthI ja ame kahIe chIe ke samyakatvIne ane samyagnAnIne samyaktva ane samyagnAna thAya che, mithyAtvIne nahi, -vizeSA0 gA0 418 vaLI, jema satatI kriyA mAnavAmAM kriyAno virAma nahi thAya tema asatatI kriyA mAnavAmAM kriyAno virAma nahi thAya, kAraNa, tame asat evA kharaviSANu viSe game eTalI kriyA karo paNa te kadI utpanna ja thavAnuM nahi. Ama kriyAvirAmano abhAva to banne pakSe samAna che. paNa vadhArAmAM asakArya pakSe e kriyAvirAma Adi doSono parihAra zakaya nathI. sat evA AkAzAdi vize paryaMyantaranI apekSAe kriyAvirAma dhaTI zake che, paNa asatamAM to evo paNa saMbhava raheto nathI. vaLI, utpattinI pUrve kArya sarvathA asata hoya to te jema utpatti pachI dekhAya che tema kharavaSANu paNa pachI kema nathI dekhAtuM? mATe mAnavuM joI e ke kArya, utpattinI pUrve kharaviSANu jema sarvathA asat nathI. Ama sarvathA asatanI utpatti mAnavAmAM doSo che, jenuM nivAraNa thaI zakatuM nathI. -vizeSA0 gA0 419 vaLI, kAryaniSpattimAM dIrghakALanI vAta karI te paNa yukta nathI, kAraNa ke dhaDAnI utpatti pahelAM sthAsAdi aneka kAryo utpanna thAya che te kAryo pratisamaye utpanna thAya che ane te paraspara vilakSaNa paNa che. Ama dhaNA badhA kAryo mATe lAMbo kALa gayo temAM e badho kALa dhakriyAno hato ema krama kahevAya? -vizeSA0 gA. 420 vaLI, kAryanI kriyAnA AraMbhamAM te dekhAtuM nathI mATe te sat hoI zake nahi evo je AkSepa karavAmAM Avyo che teno uttara e che ke tame je kriyAno AraMbha kaho cho te tenI kriyAno to AraMbha che nahuiM to pachI te tyAre kevI rIte dekhAya ? jema paTano AraMbha karIe tyAre ghaTa jovAnI AzA rAkhavI e vyartha che tema ghaTa pahelAnAM je sthAsAdi kAryo che tenI kriyAnA prAraMbhamAM paNa jo ghaTa na dekhAya to temAM kAMI Azcarya nathI. ane sthAsAdi kAMI dhaDo nathI jethI tenA AraMbhe te dekhAya. mATe AraMbhamAM dekhAto nathI--ityAdi je AkSepa che te yukta nathI. -vizeSA0 gA0 421 vaLI, ghaDo aMtima kSaNamAM dekhAya che mATe tene te kSaNamAM sat mAnavo joI e, pUrvakriyAkALamAM nahi--e je tame kahyuM temAM amAre eTaluM ja kahevAnuM che ke dhaDAno prAraMbha to antyakriyAkALamAM ja che tethI te anyakriyAkALe dekhAya che. AmAM zuM ajugatuM che ? vaLI, vartamAnakALamAM jyAre te kriyamANu che tyAre tene kRta na mAno ane akRta mAno to pachI tene kRta kayAre mAnazo? atIta kALa to naSTa hoI rIte karI zakaze ? ane asat che to te tene kevI

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38 zrI mahAvIra jaina vidyAlaya suvaNamahotsava thaW vaLI bhaviSyakALa to hajI anutpanna hoI asat che, to temAM paNa te kRta kevI rIte thAya? mATe kriyamANane ja kRta mAnavuM joIe. -vizeSA gA0 422 je kriyamANu kRta hoya to pachI te kriyamANu hoya tyAre kema dekhAtuM nathI--evo je AkSepa karavAmAM Avyo che te paNa yukta nathI kAraNa ke prati samayamAM je judAM judAM kAryo niSpanna thaI rahyAM che tethI nirapekSa thaIne tame mAtra ghaDAno ja abhilASa dharAvo cho, AthI te te kAryanA kAlane ghaDAno kALa gaNIne tame mAnavA lAgI jAva cho ke mane kriyAkALamAM ghaDo dekhAto nathI. A tamArI sthalabuddhinuM pariNAma che. te te kALamAM thatA kAryanI upekSA na karo to te te kALe te te kArya dekhAze ja, bhale dhaDa na dekhAya. ane jyAre ghaDo kriyAmaNu haze tyAre tamane ghaDo paNa kRta dekhAze ja, mATe jarA sUkSmabuddhithI vicAro. -vizeSao gA. 423 vyavahAra : paNa kArya anya samayamAM ja thAya ema zA mATe mAnavuM? prathama samayamAM paNa te kema na thAya ? nizcaya: eTalA mATe ke kArya kAraNa vinA to thatuM nathI, ane je kALe kAraNa hoya che te ja kALe kArya thAya che. mATe te anya kALamAM thatuM paNa nathI ane tethI dekhAtuM paNa nathI. A prakAre e bAbata siddha thaI ke kriyAkALamAM ja kArya hoya che, eTale ke kriyamANa kahe che, ane nahi ke kriyA uparata thaI jAya pachI; eTale kriyAnikA thaye kArya thatuM nathI. -vizeSAgAtra 424 vaLI, jJAnano jayAre utpAda thaI rahyo che, eTale ke jJAnanI utpattinI kriyA thaI rahI che tyAre paNa je jJAnane asata mAnavAmAM Ave to pachI te utpAdakono ? ane e kALamAM paNa jo ajJAna hoya to pachI jJAna yA kALamAM thaze ? mATe mAnavuM joIe ke samyajJAnIne samyajJAna thAya che, ajJAnIne nahi. --vizeSA gA0 425 vaLI, je tame ema mAno cho ke zravaNAdi kAla judo che ane te pachI jJAnotpatti thAya che - ityAdi. e bAbatamAM amAruM mantavya che ke zravaNAdi kAla che te ja to jJAnotpattino kALa che. paNa sAmAnya zravaNa nahi paNa viziSTa prakAranuM je zravaNa che; eTale ke evuM zravaNa je sAkSAta matijJAnanuM kAraNa che, teno kALa te ja matijJAnano kALa samajavAno che ane tevo to anya kSaNamAM saMbhave, jyAre atijJAna utpanna thAya che. -vizeSAgA26 prastuta carcAnI bhUmikA samajavA mATe zunyavAdamAM karelI utpAdanI carcA, je mAdhyamika kArikAmAM karavAmAM AvI che te-(mAdhyamikArikavRtti pRSTha 13, 100, 138, 157, 181, 186, vagere) vizeSarUpe avagAhavAnI jarUra che. vaLI, sAMkhyono satkAryavAda (sAMkhya kao 9) ane nai Adino asata kAryavAda vagere (nyAyasUtra 4, 1. 14-18; 4. 1. 25-33, 4. 1. 44-52) tathA jainono sadasata kAryavAda je A pUrve carcavAmAM Avyo che tenuM paNa avagAhana jarUrI che (samatitarka 3. 47-49; paMcAstikAya gA. 15, 19, 60 Adi, nayacaka tRtIya ara). jamAlie karela niddhava jamAli ema mAnato ke kata te ja kata che ane kriyamANa kRta nahi, paNa bhagavAna mahAvIra kriyamANane kRta mAnatA. AthI mULe te carcA paNa kriyAkALamAM kAryanI nipatti che ke niSThAkALamAM e

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AgamayuganA vyavahAra ane nizcayanayo : 39 praznanI AsapAsa ja che. eTale AcArya jinabhadre pUrvokta vyavahAranizcayane AdhAre je carcA karI che tevI ja rIte A carcA paNa samAna yuktio ApIne karI che eTaluM ja nahi, paNa banne prasaMge dhaNI gAthAo paNa samAna ja che--vizeSatA dRSTAMtamAM saMthAro ane dahanakriyAnI che. vizeSA0 gA0 2308-2332 kevaLanI utpatti viSe je prakAranI carcA samyaktva ane jJAnanI utpatti viSe karavAmAM AvI che tevI carcAne kevaLajJAnanI utpatti viSe paNa avakAza che, ane vastutaH te koIpaNa utpatti viSe lAgu paDI zake che. kevaLajJAna viSe kahevAmAM AvyuM che ke nizcayane mate je samaya dhruvaLAvaraNanA kSayano che te ja kevaLanI utpattino paNa che. ane vyavahArane mate kSaya pachInA samaye kevaLajJAna utpanna thAya che. --vizeSA0 gA0 1334 A bAbatamAM vyavahAra ane nizcaya potapotAnuM samarthana A pramANe kare che vyavahAra : yiAkAla ane kriyAnI niSThAno kALa eka nathI, mATe jyAM sudhI karma kSIyamANa hoya tyAM sudhI tenuM kArya jJAna saMbhave nahi, paNa jyAre karma kSINa thaI jAya tyAre jJAna thAya. --vizeSA0 gA0 1335 nizcaya : kriyA e kSayamAM hetu hoya to kriyA hoya tyAre kSaya thavo joIe, ane kriyA jo kSayamAM hetu na hoya to pachI tethI juduM kayuM kAraNu che, je kriyAnA abhAvamAM paNa jJAnane utpanna kare ? eTale vivaza thaI jo ema kaho ke kriyAthI kSaya thAya che to pachI ema kema bane ke kriyA anya kALamAM che ane kSaya anya kALamAM ? mATe je kALamAM kriyA che te ja kALamAM kSaya che ane te ja kALamAM jJAna paNa che. -vizeSA0 gA0 1336 vaLI, jo kriyAkALamAM kSaya na hoya to pachInA kALe kevI rIte thAya? ane je kriyA vinAnA eTale ke akriyAkALamAM paNa kSaya mAnavAmAM Ave to pachI prathama samayanI kriyAnI paNa zI AvazyakatA rahe ? te vinA paNa kSaya thaI javo joI e. -vizeSA0 gA0 1337 vaLI, AgamamAM paNa kriyAkAla ane niSphAkALanuM ekatva mAnavAmAM AvyuM che te paNa juo-- temAM kahevAmAM AvyuM che ke je nirmamANa che te nirbharNa che--te ja pramANe je kSIyamANu che te kSINu che ema kahI zakAya. vaLI, AgamamAM e paNa kahyuM che ke karmanI vedanA che ane akarmanI nirjarA che. e uparathI paNa kahI zakAya ke nirjarAkALe AvaraNa-karma che nahi. -vizeSA0 gA0 1338 vaLI, AvaraNano abhAva hoya chatAM paNa jo kevaLajJAna na thAya to pachI te kyAre thaze? ane jo kSayakALe nahi paNa pachI kayAreka kevaLajJAna mAnavAmAM Ave to te akAraNa che ema mAnavuM paDe. to pachI bane ema ke je kAraNa vinA ja utpanna thayuM hoya te kAraNa vinA ja patita paNa thAya. mATe AvaraNano vyaya ane kevaLajJAnanI utpattino samaya, aMdhakArano nAza ane prakAzanI utpattinA samayanI jema, eka ja mAnavo joI e. ane A ja pramANe sarvabhAvonI utpatti ane vyaya viSe samajI levuM joi e. -vizeSA0 gA0 1339-40 Avazyaka caNi(50 72-73)mAM kevaLajJAna viSe eka navI vAta kahevAmAM AvI che te paNa ahIM noMdhavI jarUrI che. kevaLajJAnanI utpattimAM koI kramaniyama nathI, koI matizruta pachI tarata ja -

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40 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI kevaLane prApta kare che, to vaLI koI avadhi pachI mana:paryAya ane pachI kevaLane utpanna kare che, to koI vaLI mana:paryAya pachI avadhi ane pachI kevaLa e krame kevaLane pAme che. A uparathI ema siddha thAya che ke nizcayane mate jJAna eka ja che ane te che kevaLajJAna; paNa te ja judAM judAM AvaraNone laIne judAM jadAM Abhinibodhika Adi nAmo dhAraNa kare che. siddhi-utpatti vize zunyavAdI ema mAnatA hatA ke vastu svataH, parataH ubhayataH ke nobhayata: siddha thatI nathI. tethI te catuSkoTivinimukta che; arthAta pratItyasamutpanna che. A bAbatamAM AcArya jinabhadra vyavahAra ane nizcayanayathI A pramANe vicAraNA karI che--koIka vastu svataH siddha che: jemake medha. koIka paratasiddha che. jemake ghaDo. ane koIka ubhayataH siddha che : jemake puruSa. ane koIka nityasiddha che : jemake AkAza-A vyavahAranayananuM mantavya che. paNa nizcayanuM mantavya evuM che ke badhI vastuo svataH siddha ja che, para temAM nimitta bhale bane paNa potAmAM sAmarthya na hoya to te nimitta kAMI karI zakatuM nathI. jemake kharaviSANumAM sAmarthya nathI to temAM game teTalAM nimitta maLe paNa te siddha thaze nahi. mATe vastunI siddhi svataH ja mAnavI joIe. -vizeSao gA1717-1718 A vicAraNAmAM upAdAnane mukhya mAnI svataH siddhi mAnI che ane temAM nimittakAraNane gauNa mAnyuM che. tethI teno upayoga chatAM tene gaNatarImAM lIdhuM nathI ane siddhi svataH kahI che. AcArya kaMdakaMdanI upAdAna nimittanI carcA Ane maLatI che ane temanA mata pramANe paNa upAdAnanuM prAbalya che. vyavahAra-nizcayanI carcAmAM A carcA paNa vastusthiti karatAM mUlyAMkananI dRSTie thaI che te dhyAnamAM rAkhavuM jarUrI che. nirjarA viSe vyavahArabhAyamAM nirjarA viSe je carcA karavAmAM AvI che temAM paNa upAdAna baLavAna ke nimitta e ja samasyA che ane teno vicAra vyavahAra ane nizcayathI karavAmAM Avyo che. vyavahAranayane mate uttarottara guNAdhika vastu vaDe uttarottara adhika nirjarA thAya che. tAtparya e che ke vyavahAranA nirjarAmAM bAhya nimittane baLavAna mAne che; paNa nizcayanayane mate to AtmAne bhAvanI uttarottara vizuddhi game te koI vastuthI thaI zake che, ane e AtmAno bhAva uttarottara vizuddha thAya te mATe e jarUrI nathI ke nimitta guNAdhika ja hovuM joIe. guNahIna nimittathI paNa uttarottara bhAvavizuddhi thaI zake che. eTale nirjarAmAM mahattva bAhya vastunuM nahi paNa potAnA AtmAnA bhAvanuM che-A mantavya nizcayanuM che. dRSTAMta ApavAmAM AvyuM che ke eka baTuka bhagavAna mahAvIrane joIne gusse thayo, paNa temanA ja ziSya gautamane joIne-je bhagavAna mahAvIra karatAM guNamAM nyUna hatA-- upazama bhAvane pAmyo. - vyavahAra bhASya0 u0 6, gA0 18-191 arthAta vyavahAranaya bAhya vastune mahatva Ape che ane nizcayanaya AMtarika bhAvane. vicAra karIe to jaNAze ke rAjamArgane vyavahAra anusare che; jyAre keDI, je samUhane kAmanI nathI paNa vyaktine kAmanI che, tene nizcaya anusare che. kharI vAta evI che ke keDI e kALAMtare rAjamArganuM rUpa le che tyAre te vyavahAramAM AvI jAya che, jyAre viralA vaLI navI keDI UbhI kare che. sAmAnya jana mATe to rAjamArga ja upayukta gaNAya ane virala vyakti mATe keDI athavA to viziSTa mArga. dharma jyAre

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AgamayuganA vyavahAra ane nizcayanayo : 41 bAhya vidhividhAnomAM AgaLa vadhI jAya che ane jyAre e ja bAhya vidhividhAno pradhAna banI jAya che tyAre nizcayanaya AvIne kahe che ke e to vyavahAra che. Ama nizcaya ane vyavahAra e banne bhAgamAMthI ekano paNa nirAsa Avazyaka nathI paNa adhikArI bhede banne jarUrI che ema enuM tAtparya samajAya che. paryAya viSe eka artha mATe aneka zabdo vaparAya che ane eka ja zabdanA aneka artho paNa hoya che. samabhinaya pramANe jeTalA zabda teTalA artho che; eTale ke koI be zabdono eka ja artha hoI zake nahi. A bAbatamAM AcArya jinabhadra vyavahAra-nizcayanayothI vicAraNA karI che. teo jaNAve che ke aMjanazadikanI apekSAe badhA zabdo bhinna bhinna arthanA bodhaka che. AnuM tAtparya e jaNAya che ke zabdazuddhine mAnanAra naya eTale ke samabhirUDhanaya athavA to zabdonI racanA judI judI kriyAne AdhAre thatI hoI te te zabdamAM kriyAbheda rahevAno ja eTale arthabheda avazya hovo joIe, AvI zabdazuddhine mAnanAra naya te vyaMjanazuddhikaryo kahevAya. A nayanI dRSTie zabdabhede arthabheda mAnavo jarUrI hoI paryAyo ghaTI zakatA nathI. paNa je anya nayano Azraya levAmAM Ave to zabdo abhinnArthaka paNa hoI zake che. temaNe ema paNa jaNAvyuM che ke saMvyavahAra eTale ke lokavyavahArane dhyAnamAM laIe to lokamAM eka ja artha mATe nAnA zabdono prayoga thAya che. mATe vyavahAranaye aneka zabdo ekArthaka banI zake che paNa nizcayanayanI apekSAe kArthaka banI zake nahi. mATe vyavahAranayanI apekSAe paryAyo samajavA, nizcayanI apekSAe paryAya zabdo hoI zake nahi. -vizeSao 1376-77 lokAcAra viSe bhagavAna mahAvIranA nirvANa pachI 214 varSe avyakata niplava thayo che teno paricaya A pramANe AcArya jinabhadra Apyo che-anya koI vAcanA Ape evuM na hoI svayaM AcArya ASADhe je divase potAnA ziSyone vAcA ApavI zarU karI te rAtre ja hRdayarogathI teo mRtyu pAmyA, ane deva thayA. AcAryo avadhi jJAnathI jANyuM ke mArA ziSyone anya vAcanAcAryanI prApti duSkara che eTale teo temanA mRtyunI bIjAne jANa thAya te pahelAM ja pAchA potAnA zarIramAM pravezI gayA ane vinA vidane ziSyonuM vAcanAkArya pUruM karI dIdhuM. ane aMte ziSyone jaNAvI dIdhuM ke huM amuka divase marIne deva thayo hato, paNa mane tamArI anukaMpA AvI eTale tamAruM vAcanAkArya pUruM karavA meM mArA zarIramAM punaH praveza karyo hato. have e kArya pUruM thayuM che ane huM devalokamAM pAcho jAuM chuM, paNa huM devarUpe asaMyata chatAM tamArI saMyatanI vaMdanA meM ATalA divaso svIkArI te anucita thayuM che. to te badala tamArI saunI kSamA mAguM chuM. ane A rIte kSamA mAgI teo devalokamAM sIdhAvI gayA. deva to vidAya thaI gayA ane ziSyoe potAnA gurUnA zarIranI aMtima kriyA karI paNa pachI temanA manamAM zaMkA thaI ke are, atyAra sudhI ApaNe asaMyatane vaMdana karatA rahyA te anAcaraNa thayuM ane asAdhune sAdhu mAnatA rahyA te mRSAvAda thayo. sAdhutA e to AtmAno guNa hoI avyakta che to pachI teno nirNaya karavo kaThina che ke koNa saMyata ane koNa asaMyata? eTale A anAcaraNa ane mRSAdoSathI bacavAno eka ja upAya che ke ApaNe koIne vaMdana karavuM ja nahi. sthaviroe temane samajAvyA ke Ama zaMkAzIla thavAthI lokavyavahAra cAle nahi. tamAre badhA ja parokSa padArtha viSe ane svayaM tIrthakaranA astitva viSe paNa zaMkA karavI paDaze. tIrthakaravacanane pramANa

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42 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha mAnatA ho to sAdhunAM lakSaNo, je temaNe batAvyAM che, te juo. ane vaLI tamane deve je vAta kahI temAM ja tame kema zaMkA nathI karatA ane tene sAcI kema mAnI lo cho ? vaLI, tame jANo cho ke jinapratimAmAM jinanA guNa nathI chatAM paNa potAnA AtmAnI vizuddhine mATe tame jinapratimAne vaMdana karo cho to te ja pramANe sAdhune vaMdavAmAM zo vAMdho che? dhAro ke sAdhumAM sAdhupaNuM nathI, paNa eTalA khAtara ja je tame sAdhunI vaMdanA na karo to pratimAnI paNa na karavI joIe. tame jinapratimAne to vaMdo cho to pachI sAdhune vaMdana karavAnI zA mATe nA pADo cho ? dekhAve sAdhu hoya paNa je te asaMyata hoya to tene vaMdana karavAthI pApanI anumati devAno doSa lAge mATe sAdhune vaMdana na karavuM paNa pratimAne vaMdana karavuM-ema mAno to prazna che ke jinapratimA paNa je devAdhiThita hoya to tene vaMdana karavAthI tenI pApanI anumatino doSa kema na lAge? ane tame e nirNa to karI ja zakatA nathI ke A jinapratimA devadhiSThita che ke nahi. tame ema mAno ke jinapratimA bhale devAdhiSita hoya paNa ame to tene jinanI pratimA mAnI amArA vizuddha adhyavasAyathI namaskAra karIe chIe tethI kAMI doSa nathI to pachI sAdhune sAdhu mAnI vizuddha adhyavasAyathI vaMdana karavAmAM zo doSa che? ane dhAro ke devanI AzaMkAthI tame jinapratimAne vaMdana karavAnuM choDI do paNa tame je AhAra zaiyA Adi svIkAro cho te paNa devata che ke nahi evI zaMkA to tamane thavI ja joIe. vaLI, zaMkA ja karavI hoya to evuM eka paNa sthAna nathI jyAM zaMkA na karI zakAya-pachI te bhojanano padArtha hoya ke paheravAnA vastra hoya, ke potAne sAthI hoya. vaLI gRhasthamAM paNa yatinA guNono saMbhava to kharo ja. to pachI tene AzIrvAda ApI, tame maryAdAlopa zuM nathI karatA? vaLI, dIkSA detI vakhate tame jANatA to nathI ke e che ke abhavya ? cora che ke paradAragAmI ? to pachI dIkSA kevI rIte dezo ? vaLI, koNa guru ane koNa ziSya e paNa kevI rIte jANavuM ? vacanano vizvAsa paNa kevI rIte karavo ? vaLI sAcuM zuM ne jUThuM zuM e paNa zI rIte jANI zakAze ? Ama tIrthaMkarathI mAMDIne svarga-mokSa Adi badhuM ja tamAre mATe zaMkita banI jaze. pachI dIkSA zA mATe ? ane je tIrthaMkaranA vacanane pramANamAnIne cAlazo to temanI ja AjJA che ke sAdhune vaMdana karavuM. te kema mAnatA nathI? vaLI, jinavacanane pramANa mAnatA ho to jinabhagavAne je bAhyAcAra kahyo che tenuM vizuddha rIte pAlana karato hoya tene muni mAnIne vizuddhabhAve vaMdana karavAmAM bhalene te munine badale deva hoya paNa tame to vizuddha ja cho, doSI nathI vaLI, tame ASADhAcAryanA rUpe je deva joyo tevA keTalA devo saMsAramAM che ke ekane joI e saumAM zaMkA karavA lAgI gayA cho, ane badhAne avizvAsanI najare juo cho ? kharI vAta evI che ke ApaNe chIe chadmastha. tethI ApaNI je cayo che te badhI vyavahAranuM avalaMbana laI ne cAle che. paNa tenuM vizuddha bhAve AcaraNa karavAthI AtmAnI uttarottara vizuddhi thAya che emAM zaMkA nathI. A vyAvahArika AcaraNa eTaluM badhuM baLavAna che ke zratamAM jaNAvela vidhithI chagnastha AhArAdi lAvyo hoya ane te kevaLInI dRSTie vizuddha na hoya paNa kevaLI te AhArane grahaNa kare che. ane vaLI evo prasaMga paNa bane che ke kevaLI potAnA chadmastha gurune vaMdana paNa kare che. A vyavahAranI baLavattA nathI to bIjuM zuM che ? jinendra bhagavAnanA zAsanano ratha be cakrothI cAle che : vyavahAra ane nizcaya. AmAMnA ekano paNa je parityAga karavAmAM Ave to mithyAtva ane taskRta zaMkAdi doSono saMbhava Ubho thAya che. mATe jo tame jinamatano svIkAra karatA ho to vyavahAranayane choDI zakatA nathI, kAraNa vyavahAranayano tyAga karavAmAM Ave to avazya tIrtho cheda che. A prakAre temane ghaNuM ghaNuM samajAvavAmAM AvyA paNa teoe potAno kadAgraha choDyo nahi

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AgamayuganA vyavahAra ane nizcayanayo : 43 eTale temane saMghathI bahiSkAra karavAmAM Avyo. pachI krame karI teo rAjagRha gayA tyAre maurya rAjA balabhadra temane sanmArgamAM lAvavA eka yukita ajamAvI. temaNe lazkarane hukama karyo ke te sAdhuone pakaDIne mArI nAkho. gabharAIne teo rAjAne kahevA lAgyA ke rAjA, tuM to zrAvaka che ane ame sAdhu chIe to tane A zobhatuM nathI. rAjAe uttara Apyo ke tame to avyaktavAdI cho. tame kevI rIte nirNaya karyo ke huM zrAvaka chuM? vaLI, huM kevI rIte jANe ke tame cora nathI ane sAdhu cho ? A sAMbhaLI teone potAnI bhUla samajAI ane teoe punaH vaMdanA-vyavahAra zarU karyo. -vizeSAgA0 2356-2388 bAhya upakaraNa ane bAhya vaMdana Adi vyavahAravidhi viSe AkSepa ane samAdhAna je prakAre AvazyakaNi (uttarArdha pRSTha 29-30)mAM karavAmAM AvyAM che tenI paNa atre noMdha levI jarUrI che- vyavahAravidhimAM avicakSaNa ziSya evI zaMkA karI ke bAhya upakaraNAdi vyavahAra che te anekAMtika che eTale te mokSamAM kAraNa nathI, paNa AdhyAtmika vizuddhi ja mokSamAM kAraNa che; mATe AdhyAtmika vizaddhi mATe prayatna karavo joIe. bAhya upakaraNa Adi anAvazyaka che. rAjA bharata cakravartIne kazA paNa rajoharaNAdi upakaraNo hatA nahi chatAM Atmavizaddhine kAraNe mokSa pAmyA, temane bAhya upakaraNono abhAva doSakara ke guNakara na thayo; ane bIjI bAju rAjA prasannacaMdra sAdhuvezamAM hatA chatAM paNa narogya karmano baMdha karyo. AmAM paNa bAhya upakaraNo temane kazA kAma AvyAM nahi, tAtparya ema thAya che ke AMtarika upakaraNa Atmavizaddhi e ja mokSano upAya che ane bAhya rajoharaNAdi nirarthaka che. Ano guru uttara Ape che ke vasa, bharata ane emanA jevA bIjA pratyeka buddha hatA, ane temane je bAhya upakaraNo vinA lAbha maLyo che to kadAcitya che. vaLI temane paNa pUrvabhavamAM AMtara bAhya upasaMpadA hatI ja, ane temaNe tene kAraNe ja Atmavizuddhi prApta karI hatI, mATe emanuM dRSTAMta AgaLa karIne bAhyAcAra-vyavahArano lopa karavo ucita nathI. ane jeo ema kare che te tIrthakarano abhiprAya jANatA nathI. tIrthakono abhiprAya evo che ke kyAMIka vyavahAravidhithI pravRtti karavI, kayAMIka nizcayavidhithI ane kyAMIka ubhaya vidhithI. AmAM koI ekAMta nathI, vidhi aniyata che. AmAM zuM eka buddhanuM dRSTAMta ApyuM che. eka mUrkha IMTa nIce dInAra joyo paNa lIdho nahi ane bhAta vAta karI. mAtAe laI AvavA kahyuM eTalAmAM to te dInAra laIne koI cAlI gayeluM. eTale te mUrkha jeTalI iMTo joI tyAM dInAra hovAnuM mAnI badhAnI nIce dInAranI khoLa karI. paNa ema kAMI dInAra maLe ? te ja pramANe keTalAka nizcayavAdIo ekAda daSTAMtane AdhAre AcaraNanI ghaTanA karavA jAya che temAM teo unmArgadarzaka ja banI jAya che ane darzanano tyAga kare che.

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sata setu sukhalAlajI saMghavI nagInadAsa zAha bhAratIya darzanakAro sata-asata, nitya-anitya, sAmAnya vizeSa, abhilApya-anabhilA A yugalo upara dhyAna kendrita karI tAtvika carcAo kare che. AcArya haribhadra "anekAntajayapatAkA'mAM A yugalonuM ja jaina daSTibiMduthI vizleSaNa karyuM che. ahIM ApaNe sata-asata e yugalane laI teno vividha dArzanika siddhAnto ghaDavAmAM kevo phALo che te kramaza: joIzuM. sata-asatanA indrano itihAsa rasika che ane cheka RdathI te zarU thAya che. bAdamAM Indra agni, pUSana, varuNa vagere bahu devo hatA. te devomAM bhale vyakti: bheda hoya paraMtu svarUpataH koI bheda nathI evuM keTalAkane sUjhayuM, ane temaNe kahyuM : "gvaM sar vijhA vaidudhA vanti." badhA ja devo sat che ane e samAna dharma badhAmAM hoI e apekSAe badhA eka che, eka jAtinA che. jainonA saMgrahanaya jevuM A che. ahIM satano artha sAmAnya evo ghaTe che. paraMtu A sAmAnya te taiyAyikonI sattA jevuM deza-kAla-vyApI nitya sAmAnya nahi. ahIM deza ke kALane gaNatarImAM lIdhA vinA mAtra badhI vyaktio astitva dharAve che-sata che--svarUpasata che ane eTalA arthamAM badhI eka che evuM abhipreta lAge che. badhI vyaktio sata che tema chatAM tene judAM judAM nAma ApavAnI vAta karI che. eka ja vastune apAtAM judAM judAM nAma paryAyo che ane te zabda-paryAyo vastu-paryAyone-te vastunA vizeSone sUcave che; te vizeSone ApaNe ahIM asat nAma ApI zakIe. sAmAnyano artha kAraNa ane vizeSano artha kArya thaI zake che paNa ahIM sata-asatane kArya-kAraNanA arthamAM sAmAnya vizeSa tarIke gaNavA te yogya lAgatuM nathI; kAraNa, TvedamAM ja eka sthaLe sat ane asatane ekabIjAnI sAthe janma pAmatAM nirUpyAM che. ane sahatpannanI vacce kArya-kAraNabhAva to saMbhavato nathI. Ama ukata arthamAM ja sata-asatano artha sAmAnyavizeSa levo ucita lAge che. 1 masa5 sapa para thomana vakSastha ramannajitepacce , ma , 20, .

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sa-asat 45 sAthe sAthe kALane lakSamAM rAkhIneya sata-asata vize vicAra thato rahyo lAge che. zvedanA nAsadIyasUktamAM zarUmAM ja kahyuM che ke, sRSTi pUrve na to sata hatuM ke na to asata. ahIM eka bAju sata ke asata ane bIjI bAju sRSTi e enI vaccenA saMbhAvita kAryakArabhAvano ADakataro nirdeza maLe che, paraMtu haju sudhI svayaM sat ane asat e benI vaccenA kArya-kAraNabhAvanuM sUcana sarakhuMya maLatuM nathI. AvuM sUcana ApaNane "chAndogya upaniSaddamAM maLe che. temAM eka evA matano ullekha che : anusAra asatamAMthI satanI utpatti thAya che. Ano svAbhAvika artha e thAya ke tadana zUnyamAMthI sRSTi thAya che. "nyAyadarzanamAMya abhAvamAMthI bhAvanI utpatti mAnanAra AvA ja eka matano ullekha ane tenuM khaMDana che. 3 svayaM "chAndogya upaniSadamAM A matano prativAda karavAmAM Avyo che. temAM kahyuM che ke, sarvathA asatamAMthI sanI utpatti thaI zake ja nahi; AthI mAnavuM rahyuM ke, sau prathama sat ekaluM ja hatuM; tene vicAra thayo ke huM ekamAMthI aneka thAuM ane pachI temAMthI kramazaH teja, jaLa, anna - thayAM.4 TIkAkAroe asatamAMthI satanI utpattine samajAvavA asatano artha avyakta ane satano artha vyakata karyo che, ane kahyuM che ke, asatamAMthI sasta utpanna thAya che. eno artha e che ke avyakata dazAmAMthI vyakta dazA thAya che." dArzanika yugamAM Avo prazna paNa rahyo che ke, kArya e utpatti pahelAM kAraNamAM sata che ke asata. sAMkhyoe kahyuM ke, kArya kAraNamAM sat che paNa te tirohita-avyakta che. jyAre amuka sAmagrI prApta thAya che tyAre te vyakta thAya che. A che satkAryavAda. A vAda pramANe kArya ane kAraNa vacce karthacita abheda che ane ene laIne emano kArya-kAraNano siddhAnta kamika AMtarika vikAsano (gradual organic growth) siddhAnta banI jAya che. ane eTale ja emanA kAryakAraNanAM dRSTAntomAM bIjaaMkara jevAM daSTAnto ja hoya che. naiyAyikoe mULa praznanA uttaramAM javAba vALyo ke kArya kAraNamAM sata nathI; kAraNamAM kArya zaktirUpe ke avyakatarUpe paNa nathI; paraMtu amuka sAmagrI UbhI thatAM pUrve kAraNamAM vidyamAna nahi evuM kArya utpanna thAya che. A che asatkAryavAda. A vAda pramANe kArya ane kAraNa vacce atyanta bheda manAyo che ane ene laIne emano kArya-kAraNano siddhAMta yAMtrika (mechanical) banI jAya che. amuka avayavo amuka rIte goThavAI jAya eTale te avayavothI taddana bhinna eka avayavI utpanna thAya che. ahIM avayavo kAraNa che ane avayavI kArya che. emanI kAryakAraNabhAvanI AvI yAMtrika kalpanAne laIne emanA kArya-kAraNanI dRSTAnto paNa tatumAMthI paTa ane kapAlamAMthI ghaTa jevAM hoya che. keTalAka satkAryano artha evo kare che ke, kAryamAM kAraNa sata che. kAraNabhUta brahmasata badhAM ja kAryomAM anusmRta che. A che vedAntI mata. bhagavAna buddha vibhayavAdane AdhAre nitya dravyanI kalpanAne prajJaptisata kahI phagAvI dIdhI ane mAtra dharmone ja saMta kahyA. AgaLa upara prazna Ubho thayo ke bhUta, vartamAna ane bhaviSyata badhA ja dharmone sata mAnavA ke mAtra vartamAna dhamane ja sata mAnavA. sAMkhyasiddhAntathI prabhAvita vaibhASikoe 2 maDhamA mAsat tatsalAlIt tatsamamavat chorU. 11. 2. juo taitti. upa0 2.7. 3 abhAvAdbhAvotpattirnAnupamRdya prAdurbhAvAt / vyAghAtAdaprayogaH / nyAyasUtra, 4. 1. 14--15. asata: sadu5yata pratyayaM pakSa...... mAdhya, nyA. sU0 4. 1. 24. 4 kathamasataH sajjAyeteti sattveva somyedamagra AsIdekamevAdvitIyam / tadakSata bahu syAM prajAyeyeti tattejo'sRjata tana pakSata vahu aaN prajAti tapoSakRnata...! chAndo6, 2, asaditi vyAkRtanAmarUpavizeSaviparItamavyAkRtaM brahma ucyate...tataH asata: vai sat pravibhaktanAmarUpavizeSam manAyata 3pam ! rAvaNamASya, titti350, 2. 7. WWW.jainelibrary.org

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46 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha badhAne ja sat gaNyA ane enA samarthanamAM buddhavacanoya TAMkyAM. Ama teo sarvAstivAdI haryAM ane kahevAyA. sautrAntika bauddo temanA A matanuM khaMDana karI ane muddavacanono anukULa artha ghaTAvI mAtra vartamAna dharmone ja sat tarIke svIkAre che. vaizeSikadarzananA asatkAryavAdanI chAyA AmAM dekhAya che. vijJAnavAdI bauddho badhI ja kSaNika vastuone sat nahi mAnatAM mAtra kSaNika vijJAnane ja sat mAne che. mAtra vijJAna yA cetanane ja san mAnavAnI A vAta temane zAMkara vedAntIonI samAna bhUmikAe mUke che paraMtu te banne vacce bheda e che ke, vijJAnavAdIonuM vijJAna kSaNika che, uparAMta teo vijJAnanA nAnA santAnomAM mAne che; jyAre zAMkara vedAntIo vijJAna--brahmane phUTaniya ane eka ja mAne che. vijJAnavAdIo satanI traNa koTio svIkAre che : paramArtha sata, saMtRti sat ane parikalpita sata. ApaNe kahI zakIe ke, emane mate kSaNika vijJAna ja paramArtha sat, bAhya kSaNika vastuo saMtRti sat ane nitya dravya Adi parikalpita sat. saMti sat ane parikalpita satane jema sattA prakAro kahyA che tema temane asatanA prakAro paNa gaNI zakAya. zUnyavAdIo zUnyane arthAt prajJAne ja sat mAne che. teo paNa satanI traNa koTi svIkAre che : pariniSpakSa, paratantra ane parikalpita. jeno svabhAva svatantra che te pariniSpanna, jeno svabhAva paratantra che te paratantra ane jeno svabhAva kalpita che te parikapita. vijJAnavAdI ane zUnyavAdInI vacce jo koI khAsa bheda hoya to te eTalo ja che ke, eka paramArtha satane vijJAna kahe che jyAre bIjo paramArtha satane zUnya--pranA kahe che; uparAMta, eka mAne che ke dhyAnanI sAdhanA dvArA vijJAnanI prApti thAya che jyAre khIjo mAne che ke buddhi dvArA buddhinI kSudratAnuM bhAna thatAM prajJAno sAkSAtkAra thAya che. : prAraMbhika kALamAM ApaNe satanI vyAkhyA bAMdhavAnA prayatnonI apekSA na rAkhI zakIe. te kALe to darzanakAronuM kArya svasammata sata tattvone gaNAvavAnuM ja rahetuM. nyAya-vaizeSiko sat ane asat khe tattvomAM mAne che. dravya, guNa, karma, sAmAnya, vizeSa ane samavAya A cha bhAva padArtho sat tattvanA vibhAgo che. abhAva padArtha e eka asat tattva che. bhAva padArthomAMthIya ' artha ' nAma to teo dravya, guNu ane kamane ja Ape che. sAMkhyakAro phUTastha nitya puruSa ane pariNAmI prakRti bannene sat gaNe che. vedAntIo mAtra puruSane ja sat tarIke svIkAre che. jaino jIva, pudgala, dharma, adharma ane AkAza A pAMca dravyone astikAyarUpe varNave che. bauddho mAtra dharmone sat gaNe che. satanI vyAkhyA ApavAnuM to A pachI zarU thayuM. auddoe sat nuM lakSaNa kSaNikatva bAMdhyuM. temaNe kahyuM ke, 'cat sat tat kSanim / ' ethI taddana UlaTuM zaMkare sat nuM lakSaNa trikAlAbAdhitatva ApyuM arthAt emane mate cUMTastha nityatA ja sallakSaNa che. Ama bauddoe mAtra paryAyo ke vikArone ja sat mAnyA jyAre zaMkare amuka khAsa viziSTa arthamAM mAtra dravyane ja sat gaNyuM. jainoe dravya ane paryAya bannene vastunA svabhAvabhRta gaNyAM che ane tethI emaNe satanI vyAkhyA utpAda-vyaya-dhrauvyayogitA karI che. utpAda-vyaya paryAyanA thAya che ete vya dhruva rahe che. Ama sarUpa vastu dravyaparyAyAtmaka hoI te utpAda-vyaya-dhrauvyayukta siddha thAya che. jainasammata salakSaNugata dhrauvyano artha sAMkhyanI jema mAtra svabhAvAcyuti ja levAya che ane nahi ke phUTastha nityatA. alabatta, e dhyAnamAM rAkhavuM joI e ke sAMkhya satanA be dhoraNo--pariNAmI nityatA ane kUTastha niyatA----svIkAre che jyAre jaina ekadhArI rIte sata nuM eka ja dhoraNa--pariNAmI niyatA--svIkAre che; } 7 kiM punastattvam ? satazca sadbhAvo'satazcAsadbhAvaH / nyAyamASya ( vArI saM. kSirikSa ), 60 r artha iti dravyaguNakarmasu / vaizavasUtra, 8. 2. z. tattvArthasUtra, pU0 20 tadbhAvAvyayaM nityam /

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sata-asata H 47 jainane mate AtmA-puruSa paNa svabhAve pariNAmI nitya ja che, sAMkhyanI jema phUTastha nitya nahi. nyAyavaizeSikoe sat nuM lakSaNa sattAyogitva ApyuM che. temanA kahevAno Azaya e che ke, sattA mahAsAmAnya jemAM samavAya saMbaMdhathI rahe te sat che. A satnI vyAkhyAonuM paravAdIoe khaMDana paNa karyuM che. jainonI satnI vyAkhyA upara evo AkSepa karavAmAM Avyo ke, parasparavirodhI dharmo eka vastumAM saMbhave ja nahi. nyAya-vaizeSikonI satanI vyAkhyAne lakSI kahevAyuM ke, te vyAkhyA pramANe to svasammata ja keTalAka sat-- bhAva padArtho asat dare kAraNa ke sattA temane mate mAtra dravya, guNa, karmamAM ja rahe che.10 zAMkara vedAntIonI ane bauddhonI vyAkhyAonA virodhamAM kahevAmAM AvyuM ke, koI paNa jAtanA pariNamanathI rahita phUTastha nitya vastu ke niranvaya kSaNika vastu e koInAya anubhavanI vAta nathI. Ama darzaniko aMdaroaMdara ekabIjAnA satnA lakSaNanuM khaMDana karatA hatA evAmAM bauddo taraphathI eka evuM lakSaNa mUkavAmAM AvyuM je lagabhaga badhA ja dArzanikoe mAnya rAkhyuM ane te lakSaNa te arthakriyAkAritva.11 alabatta, darzanakAroe potapotAne mAnya antima tattva ke tattvomAM tene lAgu karavA bhAre jahemata lIdhI. bauddhoe tarkapuraHsara siddha karyuM ke kSaNika vastu ja arthakriyAkArI che, vedAntIoe puravAra karavA prayatna karyo ke, nitya vastu ja akriyAkArI che ane jainoe sAkhita karyuM ke, nityAnitya vastu ja arthakriyAkArI che. ApaNe joyuM tema AcArya zaMkara trikAlAbAdhita phrUTastha nityane sat kahe che. te paNa vijJAnavAdI ane zUnyavAdInI mAphaka satnI traNa koTi svIkAre che : pAramArthika, vyAvahArika ane prAtibhAsika. temane mate phUTastha nitya zrahna cetana ja paramArtha sata che kAraNa ke, te trikAlasthAyI che; ghaTa, paTa Adi vyAvahArika sat che kAraNa ke te vyavahArakAlamAtrasthAyI che paraMtu tattvajJAnanAzya che; zaktirajatAdi pratibhAsika sat che kAraNa ke te pratibhAsakAlamAtrasthAyI che paraMtu adhiSThAnanAnanAzya che. AcArya zaMkara vyAvahArika grUpa jagatanA pariNAmI upAdAna kAraNa tarIke avidyA nAmanA tattvane svIkAre che. tene teo sat-asavilakSaNa kahIne varNave che. te sat nathI kAraNa ke, te bAdhita thAya che; te asat nathI kAraNa ke, te saTrUpa jagatkAryanuM upAdAnabhUta kAraNa che. A sat-asavilakSaNutAsiddhAMtanAM mULa cheka 'nAsadIyaskta 'mAM jovAM hoya to joI zakAya. tyAM kahyuM che ke, sRSTi-jagatanI utpatti pahelAM sat paNa na hatuM ke asat paNa na hatuM; arthAt STinuM upAdAna kAraNa sat paNa nahi, asat paNa nahi kiMtu arthApattithI sat-asavilakSaNa karyuM. sadadvilakSaNatAvAdanuM bhagavAna buddhanA 'avyAkRto' tathA zUnyavAdanA catuSkoTivinimuktatva siddhAMta sAthe paNa sAmya che. ' cato vAtro nivartanta aprApya manasA sarphe (taittirIyopaniSad ), naiSA ta%0La mUtiAvaneyA ' (yonip) A upaniSadvAkyone, 'varamArtho di mAnAM mULImAva: ' A candrakItivacanane ane ' tA sastha na vipha '(mavAtaMtra) A AgamavAyane paNa A saMdarbhamAM dhyAnamAM levA joIe. jaina tarkazAstranI prasiddha saptabhaMgImAMya sadasaddhilakSaNatAvAdano caturtha bhaMga 'avaktavya 'mAM svIkAra thayo che. vastu svadravya-kSetra-kAla-bhAvathI sat che ane paradravya-kSetra-kAla-bhAvathI asat che. paraMtu A be dharmo yugapaN vANImAM kholI zakAtA nathI e arthamAM vastu avaktavya che. jo e varSoM eka sAthe na kholI zakAya to be zabdo to kyAMthI eka sAthe kholI zakAya! paraMtu A artha e kaMI vastusvarUpadyotaka nathI. vastunA ' dra 9 10 11 namitrasambhavAn / sUtra, 2. 2. OM. satAmapi syAt kvacideva sattA / anyayogavyavacchedadvAtriMzikA, 8. varlDa TretathayiAvAei sarvananaprasiddhamAte... | Six Buddhist Nyaya Tracts, pR. 21.

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48 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha sat ane asat dharmone yugapa jANI to zakIe chIe paNa kholI nathI zakatA eTaluM ja--Avo Ano artha thAya. kadAca Ane laI ne ja keTalAka Adhunika jaina vidvAnoe avaktavyanI khIjI vyAkhyA evI karI ke vastumAM peya anaMta dharmo che ane asapeya anaMta dharmo che ane ApaNe na to badhA sarUpadharmAM jANI zakIe chIe ke na to badhA asaTrUpa dharmo jANI zakIe chIe. Ama zarUAtamAM sat-asat deza-kAlanA saMbaMdhathI nirapekSapaNe sAmAnya-vizeSanA arthamAM vaparAtAM, pachI sRSTi ane sat ke asat vaccenA saMbhAvita kArya-kAraNabhAvanuM sUcana maLyuM ane vicAramAM phAlatattvanuM pauCparyaM dAkhala thayuM, tyAra bAda svayaM sat ane asatanA pArasparika saMbaMdhanI carcA thaI, darzanakALamAM kAryakAraNamAM sat che ke asat e prazna vizeSe carcAyo, sAthe sAthe sanI traNa koTio pADavAmAM AvI, tadanantara satunI vyAkhyAo dhaDAI ane temanuM khaMDanamaMDane cAlyuM, vaLI sat-asatanA yugalanA anusaMdhAnamAM ja sadasadvilakSaNatAvAda Ubho thayo. A rIte sat-asat yugalanI AsapAsa ghaNuM tAttvika maMthana thayuM ane emAMthI aneka vicAravAdo bhAratIya darzanane sAMpaDyA. jema ahIM satasat yugalane laI enI paraMparAmAM ApaNane zuM prApta thayuM te joyuM tema koI samAnadharmAM bIjA yugalone laI temanI paraMparAmAMthI ApaNane zuM prApta thayuM che te darzAvaze to AnaMda thaze.1 2 12 upara sat ane asat e be dArzanika kalpanAonI saMkSepe carcA karI che, e sAthe ahIM umeravuM joIe ke sat ane asatnI kalpanAnA vicAravikAsamAM bIjAM aneka tattvo samAyelAM che, ane te aneka rIte sUkSmatAthI carcAyAM paNa che. dA.ta, nitya ane anityanI dArzanika carcA sat ane asat kalpanAnA kAlika pAsAmAMthI uddabhavI che, jyAre ekatva ane pRthakatlanI dArzanika carcA saMkhyAnA pAsAmAMthI UpasI che. e ja rIte abhilApyatva ane anatrilApyatvanI dArzanika vicArasaraNI sat ane asatanA zabdagamyatva ane zabdAgamya pAsAmAMthI vistarI che. paraMtu sAmAnya ane vizeSa athavA dravya ane paryAyanI carcA kAlika, daizika Adi badhAM pAsAone Avare che. A rIte bhAratIya darzanomAMnI prasiddha sata, asat Adi kalpanAono aitihAsika vikAsanI dRSTie abhyAsa karavAmAM Ave to lagabhaga badhI ja dArzanika mULabhUta kalpanAonI samajaNa vizada ane.

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ahiMsA paramo dharmaH upendrarAya ja0 sAMDesarA ma hAbhAratane "bhAratanI mUrtimaMta sarasvatI" e rIte saMkSepamAM oLakhI zakAya. keTalAka vidvAno * ene prAcIna bhAratIya saMskRtino vizvakoza, to keTalAka prAcIna bhAratanA itihAsa"nA Akara graMtha tarIke oLakhAve che. paNa kharekhara to te mAnavajIvananA apAra vaividhyane Alekhato, 'virATa' zabdanA sarva ane sArthaka karato, ane vyApaka jIvanadarzana karAvato mahattama "grantha-sAgara" che. enA kartA maharSi vedavyAsa, dAsa mAtA ane brAhmaNa pitAnA putra hoI jaDa mAnyatA anusAra to jahIna kakSAnA gaNAya ! paraMtu A ja maharSie cAre vedone barAbara vyavasthita karI, tenA kALajIpUrvakanA abhyAsanI goThavaNa karI, zrImad bhagavadgItAnuM divya gAna sAMbhaLyuM ane jagatane saMbhaLAvyuM, tathA dharma-vizALatAnA dharma, zuddhadharma-nI paraMparA anusAranA A mahAbhAratanI jagatane bheTa dharI ema manAya che. A mahAna kAryo mATe e mahAkavinI prazaMsA, vaidika matAnuyAyI kavio tathA svaye mahAbhAratanI chellI vAcanA taiyAra karanArAoe to karI ja che, paraMtu taduparAMta anya bhAratIya anugamodharma saMpradAyonA vidvAno jevA ke, "buddhacarita'nA kartA azvaghoSa, "kuvalayamAlA"nA kartA dAkSiNyacihna uda dyotanasUri, ane "tilakamaMjarI'nA kartA dhanapAla jevAoeya karI che. vaLI "tannAkhyAyikA" tathA "paMcataMtra" jevA kevaLa rAjanIti AlekhatA granthakAroe paNa karI che eTaluM ja nahi, paNa anugAra" ane "nandImUtra" jevA jaina Agamagranthoe paNa mahAbhAratAdi grathone mithyAzruta kahevA chatAM, "yathArtha rIte grahaNa karAyelA A bhAratAdi graMtho samyagdaSTivALAone mATe samyapha zrata che, athavA mithyAdRSTivALAo mATe paNa A samyapha zrata che kAraNa ke emanA sakhyatvamAM e kAraNabhUta thAya che; ane ema temAMthI preraNA laIne potAnI mithyAdaSTi tyajI de che-samyagdaSTi prApta kare che." ema kahIne mahAbhAratanI pratiSThA, mahattva ane vizALa dRSTino svIkAra karyo che. 1 (va) nandI sUtra' (anuvAdaka-saMzodhaka : hastimala muni, 1942) sUtra 41, pR0 110, 111 () "anuyogavAra sUva" (jinadatta ri prAcIna pustakoddhAra phaMDa, 1921) sUtra 25, 26, pR. 2, 3]; sUtra 147 [pR0 40, 41]. su0 gra0 4.

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50 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha mahAbhArata e vizALatAnA dharmano grantha hoI emAM tatkAlIna hiMdustAnamAM pracalita sarva mukhya anugamo ane AcAranI paraMparAonuM rahasya saraLatApUrvaka prastuta karavAmAM AvyuM che. ane jayAM je kaMI sAruM hoya te AtmasAt karavAnI ucca praNAlinuM tejavI darzana karAvavAmAM AvyuM che. tethI dekhItI rIte ja emAM jaina anugAmanI paraMparAonuM paNa bahumAnapUrvaka sthApana karavAmAM AvyuM che. temAMthI ahiMsAne sarvazreSTha dharma tarIke-parama dharma tarIke nirUpatAM keTalAMka udAharaNa joIe. mahAbhArata ahiMsAne "ahiMsA paramo dharma: 2 2 kaltha pratitiH | - satyamAM pratiSThita evo zreSTha dharma kahe che.. (1) jAjali nAmano eka brAhmaNa, AdinAthanA putra bAhubalinI jema ugra tapa tapato hato. thAMbhalAnI jema avyagra rahIne tapa karatAM tenI jaTAmAM, eka cakalA cakalInA joDAe mALo bAMdhyo. temAM IMDAM mUkyAM. temAMthI baccAM janmyAM! dhIre dhIre te baccAM moTAM thayAM ane svAvalaMbI thaI UDI gayAM ! jAjali te pachI paNa eka mahinA sudhI dayAne lIdhe sthira besI rahyo. jyAre tene khAtarI thaI ke cakalAM pAchAM Avaze ja nahi, tyAre UThayo. UThayA pachI tene tarata abhimAna thayuM. eTale garvathI bolyo, "meM dharma prApta karyo che." tyAre aMtarIkSa vANIe kahyuM ke, "tuM mahAprAjJa tulAdhAranA jeTalo dhArmika nathI. kAzIno e tulAdhAra paNa tuM bole che evI gavANuM uccArato nathI ja. (to tuM bole te kema chAje?)"4 A sAMbhaLIne ciDAyelo jAjali vArANasI gayo. tyAM jaIne tenA vepAra upara AkSepa karatAM tulAdhArane pUchayuM, "he mahAmati vaNiputra ! tuM sarva raso, gadhe, vanaspatio, auSadhiyo ane tenAM mULa tathA phaLane vece che; chatAM tane naichikI buddhi kevI rIte maLI che?" | ' tyAre bAra vrato paikI trIjA vratanA aticAra tuDha vRdamALethI virAma pAmelA, trAjavAthI nipakSa rIte prAmANikatAthI samAna tolanAra, ane prANImAtra pratye samadaSTithI jonAra koI sAcA jaina zrAvakanI yAda ApatAM, A vaizya tulAdhAre javAba ApatAM kahyuM, "gujarAnanI je vRtti prANIonA taddana adrohathI--saMpUrNa ahiMsAthI, athavA apakohathI-ochAmAM ochI hiMsAthI, cAle che te zreSTha dharma che, ane te pramANe huM AjIvikA karuM chuM. huM nAnAmoTA sugaMdhI padArtho ane madya sivAyanA rasono niSkapaTapaNe vepAra karuM chuM.7 (zAstro kahe che ke je mana, karma, vacanathI sadeva sarvano suda che, ane sarvanA hitamAM rata che, te dharmane jANe che. tethI huM koInI nindA, prazaMsA, TheSa ke kAmanA rAkhyA 2. (1) mahAbhArata ( bhAMDArakara orienTala insTiTayUTanI vAcanA ), AraNyakaparva 198-69. () sara0 satyanAM darzana ahiMsA vagara thaI ja na zake. tethI ja kahyuM che ke hiMsA paramo dharmaH" -gAMdhIjI (" nityamanana " pR0 4) 3. mahAbhArata, zAntiparva, . 253 thI 256. 4. mahAbhArata, zAtiparva, 253-41, 42, 43. mahAbhArata, zAntiparva, 254-1thI 3. adroheNaiva bhUtAnAmalpadroheNa vA punaH / yA vRttiH sa paro dharmastena jIvAmi jAjale / mahAbhArata, zAMtiparva, 24-6. 7. rasAMzca tAstAnviprarSe madyavarjAnahaM bahUn / zrIdavA che gativitrIne paraharatAmAyA che. mahAbhArata, zAntiparva, 254-8 sara0 sAtamA vratamAM paMdara jAtanA dhaMdhAno pratibaMdha Ave che. temAM rasavANijyanA aticArano ullekha che. madhane temAM samAveza thAya. vandittA sUtra' 22, 23

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ahiMsA paramo dharmaH 51 vinA sarva pratye samadaSTi rAkhuM chuM, te mArA vratane juo. iSTa, aniSTa, prIti ane rAgathI chUTuM thayeluM evuM mAruM trAjavuM sarva prANIo pratye samAna che. ... jema vRddha, rogI ane kRza manuSya viSayo pratye niHspRha hoya che, ema artha ane kAmanA upabhogamAM huM niHspRha chuM-- vigatatRSNa chuM...prANIone abhaya denAra dharma jevo dharma bhUtakALamAM thayo nathI ane bhaviSyakALamAM thaze paNa nahi; tene anusaranAro nirbhaya padane prApta kare che...(sAmAnyataH) bahirmukha buddhivALA, catura ane samagra paristhiti anusAra tatvano nirNaya karanAra vidvAno, kItine mATe je sahAyavAna hoya ke dravyayukta hoya, kiMvA bIjA anya bhAgyazALI hoya tenI zAstromAM tenAM satkAryo mATe, eraNanI corI ane soyanA dAna jevAM ) stuti kare che. paNa (vastusthiti e che ke, tapa, yajJa ane dAna karavAthI tathA prajJAyukta vAkayo bolavAthI je phaLa maLe che te ja mahAphaLa abhayadAnathI bhaLe che. jagatamAM je manuSya adakSiNA Ape che, tene sarva yajJo karyAnuM phaLa maLe che. (vadhArAmAM) potAneya abhayadakSiNA maLe che. prANIonI ahiMsAthI zreSTha koI dharma che ja nahi. 10... je sarva prANIono AmAM banyo che, je prANIone samya jue che, evA (parama) padanA abhilASI chatAM pada vinAnA-pagalAMnI, rastAnI nizAnI vinAnA--puruSanI gatithI devo paNa moha pAme che." 12 pachI "A abhayadAnano ahiMsaka dharma baha apalApa karanArAthI-bahanidvavathI jANI zakAto nathI, paNa AcArathI jANI zakAya che."1ra ema kahI AgaLa cAlatAM tulAdhAra bolyo, "jeo pazuonAM vRSaNa kApe che---khasI kare che, nAthe che, bahu bhAra upaDAve che, bAMdhe che, duHkha de che ane keTalAka to mArI nAkhIne mAMsa paNa khAI jAya che, tenI tuM kema nindA karato nathI ? (ane mArA ahiMsaka vyApArane nide che 2)" vaLI AgaLa cAlatAM atyAranA yugamAM, gulAmI javA chatAMya nokaro pratye gulAma jevuM vartana rAkhatA zeThiyAoe dhyAnamAM rAkhavA jevAM vacano uccArIne A ahiMsaka vaNike kahyuM, "keTalAka manuSyo manuSyone ja gulAma banAvIne temanI pAse vaitaruM karAve che. vaLI e loko maraNatola mAra mAravAthI thatuM duHkha jANe che, chatAM rAtadivasa mAra mArI A sarveSAM yaH suhRnnityaM sarveSAM ca hite rataH / karmaLA manasA vAva sa dharma veda nAnA | mahAbhArata, zAntiparva, 254-9 nAnurudhye virudhye vA na dveSmi na ca kAmaye / moDa isarvabhUteSu para me nAnA vratam | mahAbhArata, zAntiparva, 254-11 iSTAniSTavimuktasya prItirAgabahiSkRtaH / tu me samUteSu samA tigta jJAna ne mahAbhArata, zAntiparva, 254-12 sahAyavAndravyavAnyaH subhago'nyo'parastathA / tatastAneva kavayaH zAstreSu pravadantyuta / vIryamapaddhasthA davaH nirbayAH | zAtiparva 254-2 7. loke yaH sarvabhUtebhyo dadAtyabhayadAkSaNAm / sa sarvayazairIjAnaH prApnotyabhayadakSiNAm / na mUtAnAmahiMsAyA kathAkApaDarita vezcana mahAbhArata, zAntiparva, 254-29. sarvabhUtAtmabhUtasya samyagbhUtAni pazyataH / vAIpa mA munita adrazya padvapin: 1 mahAbhArata, zAntiparva, 254-32. sUkSmatvAnna sa vijJAtuM zakyate bahunihavaH / / 3pappAntara1 vAgyAnAvAranavavuM dhyata | zAntiparva, 254-36. 12

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para : zrI mahAvIra jaina vidyAlaya suvaNamahotsava grantha bAMdhIne ke kedamAM pUrIne rAtadivasa temanI pAsethI kAma le che.17 paMcendriya prANIomAM devono nivAsa che, chatAM keTalAka loko temane jIvatAM hoya chatAM ya vece che to pachI, mUelAMne to vece ja emAM zI navAI ? to he brAhmaNa ! jo huM tela, ghI, madha ane kAauSadhiono vepAra karuM chuM to temAM tamane zuM vAMdho naDe che?" pachI kRSimAM rahelI hiMsA darzAvI, khetI karatAM govaMzane-baLadone je duHkha devAmAM Ave che tenuM varNana karyuM, ane vinati karI ke, " jAjali ! jagatamAM je je amaMgala ane dhora AcAro pravarte che, tene tame kevaLa gatAnutikatAthI ja Acaro cho paNa nipuNatAthI samajatA nathI, mATe (kArya-) kAraNa tarapha najara rAkhIne AcaraNa karavuM--(sAmAnya, kAmanAvALA Asakta) loko vartatA hoya tema nahi. jema mAro koI tiraskAra kare ke stuti kare te banne tarapha mane to samAnabhAva che, kemake mane priya-apriya kaMI che ja nahi. A dharmane manISio prazaMse che, yuktisaMpanna tio AnuM sevana kare che, ane satata dharmazIla jano tenuM sUkSmatAthI avalokana kare che."14 prAna tulAdhAre e pachI yajJarahasya samajAvI, niSkAma ane ahiMsaka yajJathI samadaSTivALI prajA janme che te spaSTa karyuM. AvA niSkAma ahiMsaka yajJonA prabhAvathI agAu kRSi vinA paNa jotuM anna nIpajatuM tenI yAda ApI, ane mAnasika RtuonI15(=yanonI) mahattA sthApita karI. chevaTe sAttvikI zraddA rAkhI dharmAcaraNu karavA kahyuM.16 vAtacItano samAropa karatAM tulAdhAre kahyuM ke, dharmArthadarzanavALA saMtoe A pramANe dharma kahyo che. jijJAsu evA emane te dharma dharmadarzanathI prApta thayo che.''17 6. 13 14. 15 16 17 ye ca chindanti vRSaNAnye ca bhindanti nastakAn / vahanti mahato bhArAnbadhnanti damayanti ca // hatvA sattvAni khAdanti tAnkathaM na vigarhase | mAnuSA mAnuSAneva dAsabhogena bhuJjate // vadhabandhavirodhena kArayanti divAnizam / AtmanA cApi jAnAsi yadduHkhaM vadhatADane // A sAthe sarakhAvo, prathama aNuvrata ahaMsAnA paDhame aNuvvayammI thUlagapANAzvAyaviraIo / Ayariappasatye ittha pamAyappasaMgeNaM // vaha baMdha chavicchee aibhAre bhattapANavucchee / padamavayassa'iAre pakkime desiaM savvaM // vandittA sUtra ' 9, 10. pahelA aNuvratamAM pramAdane lIdhe (krodhAdika) aprazasta bhAvo pramANe vartIne sthULa prANAtipAtaviratine toDIne je aticAra karyo hAya, tathA vadha, baMdha, avayavano cheda, atyaMta bhAra upaDAvyo hoya ane khAvApIvAno viccheda--e prAMca prathama vratanA aticAronuM AcaraNa karavAthI thayelA divasa saMbaMdhI sarva doSathI huM pratikramuM chuM. mahAbhArata, zAntiparva, 254-36. mahAbhArata, zAntiparva, 25437. mahAbhArata, zAntirva, 254-38. aticAra. mahAbhArata, zAntiparye, 254-49thI para. uta yA hatAyA maLyuM nArhanti te cit| mahAbhArata, zAntiparva 255-37. yajJa hoya ke ayajJa hoya te 'makha'ne (maNuM mAnasia Rtum / mahAbhAratano TIkAkAra paM, nIlakaMTha) pahoMcI na zake, mahAbhArata, zAntiparva 60 255 ane 60 206, iti dharmaH samAkhyAtaH sadbhirdharmArthadarzibhiH / vayaM jijJAsamAnAstvA saMprAptA dharmadarzanAt // TIkAkAra paM. nIlakaMTha dharmavAnAt padano artha * dharmadarzana nAmanA munithI ' evo kare che. mahAbhArata zAntiparva 255-16.

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ahiMsA paramo dharmaH 53 (2) gomedha yajJamAM vRSabhane mRtyu pAmelo joIne nirveda pAmelo rAjA vica-- "3Avi hi sabhyo dharmabhyo upAya mata !--ahiMsA ja sarva dharmo karatAM zreSTha che."18 ema bolyo, ane gAyone abhayadAna ApyuM. arthAta hiMsaka ya baMdha karyA. "kAma, moha, lobha ane lolupatAthI A hiMsaka vajanavALA ya pravaryA che. viSNunuM sarvavyApI paramAtmAnuM vajana to pAyasa (khIra jevI khAsa cIja) ane puSpothI thaI zake."19 ema kahyuM. ane tAravyuM ke, "(yajJa mATe) A sivAya (pAyasa ane puSpo uparAMta) paNa je varIya dravya mahAtmAoe zuddhabhAvathI ane ahiMsaka rIte saMskAreluM hoya te sarva ja devone arpaNa karavA yogya gaNAya che." (3) Azvamedhika parvAntargata AvelI "anugItA2 1mAM vRddha AMgirasa RSinI AgevAnI nIce bRhaspati, bharadvAja, gautama, bhArgava, vasiSTha, kAzyapa, vizvAmitra, atri vagere RSio ane nirdoSa (vItakalmaSa) brahmadevano saMvAda che. temAM jJAnanAM aneka pAsAM carcAya che. carcA daramiyAna aneka dharmasaMpradAyonA bahusaMkhya AcAryonA dharmaviSayaka vibhinna matothI gUMcavADAmAM paDelA RSioe emAMthI saMkhyAbaMdha mato TAMkatAM brahmAjIne pUchayuM, "A jagatamAM kyo dharma atyaMta AcaravA yogya che? ame to ema ja joIe chIe ke, dharmanI vividha gati jANe ke naSTa-bhraSTa thaI gaI che ! (juone A dharmamatono Dhagalo !) (1) dehanAza pachI AtmA che; (2) dehanAza pachI AtmA nathI; (3) badhuM saMzayabhareluM che; (4) badhuM niHsaMzaya che; (5) (jagata) anitya che; (6) (jagata) nitya che; (7) kaMI nathI ane kaMI che ; (8) ekarUpa evuM vijJAna daitarUpe (=didhA) thayuM che; (9) A jagata vyAmizra che, (paramAtmAthI) bhinna ane abhinna che; (10) (brahma) eka che; (11) (brahma) pRtha che; (12) bahuva (= aneka paramANuo) kAraNa che; (13) koI jaTA ane mRgacarma pahere che (pracAra kare che); (14) koI muMDana karAve che; (15) koI digaMbara rahe che; (16) keTalAka kahe che snAna na karavuM (= (4) nahAvuM nahi; (4) bALapaNathI ja naiSThika brahmacarya pALavuM) ; (17) snAna karavuM = (*) nahAvuM; (3) snAtaka thaIne gRhasthAzramI thavuM); (18) AhAra levo (ane upAsanA karavI); (19) anazana rAkhavuM; (20) karmanI prazaMsA karanArA; (21) zAntinI prazaMsA karanArA-saMnyAsI; (22) deza, kALa kAraNa mAnanArA (23) deza, kALa kAraNa nathI ema mAnanArA; (24) mokSanI prazaMsA karanArA; (25) bheganI prazaMsA karanArA; (26) dhananI IcchA rAkhanArA; (27) nirdhanatA icchanArA; (28) (dhyAnAdika) sAdhanothI upAsanAmAM mAnanArA; (29) A sAdhanono kaMI artha nathI ema mAnanArA; (30) ahiMsAparAyaNa; (31) hiMsAparAyaNa; (32) puNya ane yaza mATe prayatnazIla; (33) puNya ane yaza jevuM kaMI nathI ema mAnanArA; (34) sabhAvanirata-satatvamAM zraddhAzIla; (35) saMzayazIla (A sAcuM ke te sAcuM ema asthira); (36) keTalAka du:khathI ane keTalAka sukhathI dhyAna karanArA (sakAma upAsaka) (37) yajJamAM mAnanArA; (38) dAna mukhya che ema mAnanArA; (39) sarva (sAdhanA) prazaMsako; (40) sarva (sAdhanone) niMdanArA; (41) 18 mahAbhArata, zAntiparva, 257-6.. mahAbhArata, zAntiparva, 257-10. yaccApi kiMcitkartavyamanyaccoH susaMskRtam / mAtaraH gumaH sarve vevameva tatva || zAntiparva, 257-11. A zlokamAM AvatuM mahAlarava (=mahAkulIna ke ziSTajana) pada bauddhomAM pracalita che. eka bodhisatvanuM nAma paNa "mahAsatva' che, e rIte ahIM noMdhapAtra che. juo maoNniyera viliyamsane saMrakRta-aMgrejI koza pR0 801. mahAbhArata Azvamedhaparva, 50 16thI 50 50. 22. juo, mahAbhArata, Azvamedhaparva, 35-15thI 20, 21 nava"

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54 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha tapaparAyaNa; (42) svAdhyAyaparAyaNa; (43) jJAna e ja saMnyAsa che, ema kahenArA; ane (44) svabhAva che ema kahenArA bhUtacintako-bhautikavAdIo.2 3 Ama aneka prakAre dharmabodha karavAmAM Ave che, eTale huM surasattama ! ame kaMI nizcaya karI zakatA nathI. janasamAja, ' A zreya che, A zreya che,' AvA mato sAMbhaLI vicalita thayo che. ane je manuSya je saMpradAyamAM hoya che, te saMpradAyavALAno ja e satkAra kare che ! eTale amArI prajJA mUMjhAI che, tathA amAruM mana aneka prakAranuM-caMcaLa, banI gayuM che. to he sattama ! ' zreya' zuM che te kaho."24 eTale lokarakSaka dharmAtmA brahmadeve sarva matono goTALo dUra karatuM pravacana karyuM. temAM zarUAtanAM e vacanomAM samagra dharmatattvano sAra mUkI dIdho : (c hanta vaH saMpravakSyAmi yanmAM pRcchatha sattamAH / samastamiha tacchrutvA sabhyovavadhAyatAm || mahAbhArata, Azvamedhikaparva, 49-1. he sattamo ! tame mane je pUchyuM te tamane sArI rIte kahIza. e sarva sAMbhaLIne tame samyak vicAra karo. 23 ahiMsA sarvabhUtAnAmetatkRtyatamaM matam / tatvanaddhinuM ritraM dharmajJaLam // 49-2 jJAnaM niHzreya ityAhurvRddhA nizcayadarzinaH / tasmAjjJAnena zuddhena mucyate sarvapAtakaiH // 48-3 " sarva bhUto pratye (AcarelI) ahiMsAne sarvazreSTha kRtya mAneluM che. A pada uddegarahita che ane variSTha dharmalakSaNa che. tathA parama kalyANakArI jJAna che ema nizcayadarzI vRddho-siddhAMta sthApanArA RSio kahe che. mATe zuddha jJAnathI ( = AvI AcarelI ahiMsAthI) manuSya sarva pAtakathI chUTe che." 24 Ama matapaMthonA jALAMthI UbhA thayelA jabaradasta gUMcavADAne pAra karavA mATe ahiMsA-sarvatra samAnabhAve premabhAva, e eka ja AcaraNIya mULabhUta dharma, parama dharma tarIke mahAbhAratakAre jaNAvIne, ahiMsAne AtmAne UMce laI janAra mahAzakti tarIke svIkArI che. e mahAzakti vIryavAna che chatAM haju sudhI enuM alpatama bhAna paNa sAmAnya rIte manuSyone nathI. enA svapAtisvalpa paNa na kahevAya (i) mahAbhArata, Azvamedhakaparva, 48-14thI 24. A 48 mA adhyAyamAM zloka 1thI 12 sudhI, brahmane anyakta, anAmaya, puruSa, sattva ItyAdi rIte oLakhanArA bhinna bhinna mato jovA maLe che. tenA anusaMdhAnamAM A zloka 14thI 24 sudhImAM cArthaMka, tArkika, mImAMsaka, zUnyavAdI bauddho, vijJAnavAdI bauddho, advaitavAdI, dvaitavAdI, bhedAbhedavAdI, vaizeSiko, kAlavAdIo, syAdvAdI, tairthika, yogAcArI, paramANuvAdI vagere matono ullekha karI tenA gUMcavADAmAMthI kema chUTavuM te prazna uThAvyo che. (gha) jaina saMdarbho uparathI 363 dharmapaMtho-pASaNDo-nA ullekha maLe che. 180 kriyAvAdI (=AtmavAdI), 84 akriyAvAdI (=anAtmavAdI), 67 ajJAnavAdI, 32 vaiyika (=vinayavAdI)--sarvadharmasamabhAvI. kula 363. juo ' nandI sUtra ' sUtra 46,' zrutajJAnAdhikAra'mAM dvAdazAMgI varNanamAM; ' sUtrakRtAMga' prathama zrutaskandha, bAramuM adhyayana; ' AcArAMga ' prathama zrutaskandha 1-103nI niyuktimAM paNa 363 mata vize vivecana che. (i) bauddha saMdarbho uparathI pAli sAhityanA kALamAM bauddhadharma sahita judA judA 63 paMtho hayAta hatA ema jaNAya che. juo * suttanipAta 'mAM * sabhicasutta ' gAthA 29; 'dIdhanikAya 'mAM ' brahmanalasutta ' 1-1-2; * buddhacarita ' (dharmAMnanda kosAmbIkRta) pR0 115. ' mahAbhArata, Azvamedhaparva, 48-25thI 28.

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ahiMsA paramo dharma : 25 evA AcaraNe dezane AjhAdI apAvI che, ema gAMdhIjIe noMdhyuM che. 25 ane mahAbhAratakAra to ahiMsAthI sarvane premamAM lapeTatI vizALa dharmazaktine varNavatAM kahe che: "jema hAthInA pagalAmAM bIjA sa cAlanAra prANIonAM pagalAM samAI jAya che, tema ahiMsAmAM sakala dharmano arthatattva samAI jAya che. (Ama samajIne) je ahiMsAnuM pratipAdana kare che te nitya amRtamAM arthAt mokSamAM vase che."2 6 Ano artha e che ke, ahiMsA eTale hiMsA karavI nahi" evo abhAvAtmaka vicAra nahi, koI paNa prANIne duHkha na devuM eTaluM ja nahi, paNa satyazodhana mATe arthAt AtmasAkSAtkAra mATe, premasAgaramAM lIna thavAnI evI prakriyA ke jemAM karuNAmUlaka sarvane hitakArI pravRtti karavAno paNa bhAva che. tethI temAM koInuM bUruM karavAno ke icchavAno, koIneya duHkha devAno, koInoya pratikAra-SamUlaka pratikAra, karavAno emAM avakAza nathI. AvI ahiMsA siddha karanAra mahAvIra che. kAraNa ke tenI sahAyamAM mahAna IzvarI zakti ahiMsA sadAya UbhI hoya che. jene lIdhe maraNa ke jIvana je Ave tene e zAnti ane samatApUrvaka bheTavAne taiyAra hoya che. vedavyAse A vIranI ahiMsAnI zreSTha kartavya" ane "parama dharma' tarIke stuti karI che, ane pratiSThA karI che. 2x () Vide, Non-violence in Peace & War Vol. II (Gandhiji) Vol. II, Chapter 200, p. 327, 328. (3) sara0 "., satyamaya thavAne sAru ahiMsA e eka ja mArga che ema A prakaraNone ("AtmakyA'nAM) pAne pAne na dekhAyuM hoya to A prayatna vyartha samajuM chuM... ahiMsA e namratAnI parAkASThA che, ane namratA vinA mukti koI kALe nathI e anubhavasiddha vAta che." "AtmakathA" (-gAMdhIjI, 5 mI AvRtti, saM. 1990) pR. 378, 380. (T) sara ... chatAM ahiMsAne sAdhana gaNIe, satyane sAdhya gaNIe. sAdhana ApaNA hAthanI vAta che tethI ahiMsA parama dharma thaI, satya paramezvara thayuM.." "maMgaLaprabhAta" (-gAMdhIjI 6ThThI AvRtti) pR0 7. mahAbhArata, zAtiparva, 237-18, 19, 19 = anuzAsanaparva 115-6; "yogazAstra' (2-30) uparanI vRttimAM nAgojI bhaTTa ane vyAsabhAgya'mAM vyAse A vacana (zAntiparva 237-18; anuzAsana 0 114-6) TAMkeluM che. 26 Rii . hae Sii .

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6 parigraha ' zabdamAM 'vRtti ' upasarga che, ane teno artha 'cAre taraphanuM' evo thAya che. tenI sAthe #rU dhAtu svIkAra ke aMgIkAranA arthamAM che. eTale cAre taraphathI vastuno svIkAra ke saMgraha karavAnI rItane 'parigraha ' kahevAmAM Ave che. parigraha e pApa che. jaina darzanamAM pApano mukhya saMbaMdha vRtti sAthe che. tethI karIne mamatvabuddhithI padArtho ke vastuono saMgraha rAkhavo agara saMgraha karavAnI icchA karavI, prayatna karavo, e badhuM parigrahanuM svarUpa che ane dharmazAstromAM AvA parigrahane pApanA mULa tarIke mAneluM che. daza vaikAlika sUtramAM kahevAmAM AvyuM che ke : 'jema bhamaro vRkSanAM vividha phUlomAMthI rasa cUse che ane potAnI jAtane nabhAve che chatAM phUlono vinAza karato nathI; arthAt phUlone ochAmAM ochI pIDA thAya tema varte che, tema zreyArthI manuSya paNa potAnI vyAvahArika tamAma pravRttio karatAM potAnA sahAyako mAMthI--potAnA grAhakorUpa vividha AlaMbanomAMthI evI rIte lAbha uThAvavo ghaTe ane potAnI jAtane evI rIte nabhAvavI ghaTe jethI e potAnA sahAyakarUpa AlaMbanono vinAza na thaI jAya-- temanI AjIvikA ja na chinavAI jAya--teo samULagA cUsAI jaI vinAza na pAme.' 1 kalikALasarvajJa zrImad hemacaMdrAcArye yogazAstramAM kahyuM che ke: 'duHkhanA kAraNarUpa asaMtoSa, avizvAsa ane AraMbha A sarva mUrchAnAM phaLo che ema jANIne parigrahano niyama karavo.'2 khAdyathI dhanAdikano tyAga karAyelo hoya paNa aMdarathI icchA-tRSNA jIvanta hoya to te paNa eka prakArano parigraha ja che. bAhya tyAga zakya che, paNa sAcI mahattA AMtara tyAganI che. dazavaikAlika sUtramAM kahyuM che ke : na so pariggaho to nAyaputtreNa tAiNA / mucchA pariggaho vRtto ii vuttaM mahesiNA // 1 s pApanuM mULa : parigraha manasukhalAla tArAcaMda mahetA paMDita becaradAsakRta 'mahAvIra vANI ' (sUtra 7-8), yogazAstra adhyayana ra-106.

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pApanuM mULa : paricaha : 57 bAhya Rddhine dekhAvamAtrane parigraha nathI kahyo, paNa mUracha e ja parigraha che. Asakti e ja saMsAra che. zrI umAsvAmI mahArAje tasvArtha sUtramAM parigrahanuM svarUpa samajAvatAM mUrchA purijha:8 arthAta mUcha ja parigraha che ema lakhyuM che. vastuno bAhya tyAga karyA sivAya vidyamAna vastumAM mUcha na thavI e bhAre kaThina kArya che, eTale ja bAhyAMtara tyAga AtmahitakArI che. yotiSazAstranA niyamAnusAra dareka graho amuka samayanA aMtare eka rAzimAMthI bIjI rAzimAM jAya che, paraMtu "parigraha" to evo bhayaMkara graha che ke te tenI rAzimAMthI kadI pAcho pharato nathI. zrImada yazovijayajI mahArAje parigraharU5 grahanI vilakSaNatA batAvatAM kahyuM che ke : "je rAzithI pAcho pharato nathI ane vakatAno tyAga karato nathI, jeNe traNa jagatane viDaMbanA karI che evo A "parigraha" rUpa kyo graha che? sarva grahothI parigraha graha balavAna che. enI gati koIe jANI nathI." maharSi haribhadrasUri racita "yogadaSTisamuccaya'nA vivecanamAM DaoN. bhagavAnadAsa mahetAe "parigraha zabdano artha samajAvatAM lakhyuM che ke : "jema jema AraMbha vadhe che, tema tema AraMbhano mitra parigraha paNa sAthosAtha vRddhi pAme che. A nAmacIna "parigraha' paNa potAnA nAma pramANe, jIvane pari' eTale cotaraphathI grahe che, pakaDI le che, jakaDI le che. pachI to A "graha' bhUta athavA duSTa graha agara magara jevA parigrahanI jIva para jakaDapakaDa evI to majabUta hoya che ke, temAMthI jIvane chUTavA dhAre to paNa haTavuM bhAre paDe che. te parigraha-balA vaLagI to vaLagI, kADhavI muzkela paDe che. moTA vyavasAyo AraMbhanArA athavA moTI moTI rAjyAdi upAdhi dhAraNa karanArA janono A rojano anubhava che. parigrahanI jaMjALamAM phaselA te bApaDAone rAte nirAMte UMgha paNa AvatI nathI." 5 maharSi pAtaMjalIe parigrahano tyAga karavAthI thatA phAyadAo saMbaMdhamAM kahyuM che ke : rijhastha karmathantAkhyo:6 arthAta aparigrahanI dRDhatA thavAthI yogIne pUrvajanmanuM jJAna thAya che. svAmI vivekAnaMde A bAbata samajAvatAM kahyuM che keH "jyAre yogI bIjAnI pAsethI kAMI levuM ja nahi evA saMkalpanuM pAlana kare che, tyAre tenuM mana bIjAonI asaramAMthI mukta thaI svataMtra tathA zuddha bane che, kAraNa ke dAna grahaNa karavAnI sAthe dAna ApanAranAM pApa tema ja avaguNanI asarono paNa ApoApa ja svIkAra thaI jAya che, ane mana upara tenA eka pachI eka evAM aneka AvaraNa jAmatAM cAlI mana tenI aMdara rUMdhAI jAya che. parigrahano tyAga karavAthI e pramANe thatuM aTake che ane mana nirmaLa thaI jAya che. AthI je je lAbha thAya che temAM pUrvajanmanuM smaraNa e mukhya che." zrImad bhagavadgItAmAM kahyuM che ke : "viSayo ane iMdriyonA saMyogamAMthI janmanAruM sukha zarUAtamAM amRta jevuM paNa pariNAme jhera jevuM che, ane tevA sukhane rAjas sukha kahevAya che.... jaina darzana paNa kahe che ke: saMyorAkUTa na juttA duvaMzavaraMparA-arthAt nAza pAmanArI vastuono saMyoga ja du:kharUpa vRkSanuM mULa che. bhogya padArtho sAtheno saMbaMdha duHkhamAM pariNamyA sivAya nathI raheto te saMbaMdhamAM viSNupurANamAM kahyuM che keH yAvantaH kurute jantuH sambandhAnmanasaH priyAn / tAvanto'sya nikhanyante hRdaye shokshngkvH|| 3 tattvArtha sUtra adhyayana 7-12. jJAnasAra (aSTaka. 25-1). DaoN. bhagavAnadAsa mahetAnuM yogadaSTisamuccaya: pAna 309 pAtaMjala yogasUtra : 2-39 svAmI vivekAnaMda bhA. 10-11 (sa. sAhityavardhaka kAryAlaya, zrImad bhagavadgItA (18-38) 6 8

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58 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha arthAt mAnavI potAnA manane priya lAge tevA jeTalA jeTalA bhogya padArtho sAthe saMbaMdha rAkhe che, teTalA tenA hRdayamAM zokarUpI khIlAnA AdhAta thAya che. zrI zaMkarAcArye kahyuM che ke : barthananathai mAya nityak----arthAt anarthakArI dhana jenI pAse hoya che, tenI buddhi vikRta thaI jAya che. corI, hiMsA, asatya, daMbha, kAma, krodha, mada, kapaTa, vaira, avizvAsa, spardhA, dhUta, vyabhicAra ane surApAna jevA vyasano mANasone arthanA anartha rUpe ja thAya che. aDhAra pApasthAnako paikI sattara pAponuM udbhavasthAna paNa eka rIte to parigraha ja che. dhana, dhAnya ane dhAtunA DhagalAmAM sukha nathI, paNa jIva temAM sukhanI kalpanA karI kheDo che. kUtaro jyAre sUkA kaThaNa hADakAne cAve che, tyAre tenA komaLa moMmAMthI lohI nIkaLe che; ane te lohI hADakAmAMthI Ave che evI enI kalpanAthI lohIno svAda tene uttama lAge che. mAnavInA bhogonA sukhano AkAra paNa moTA bhAge AvA ja prakArano hoya che. maharSi pAtaMjalIe A vAta vadhu spaSTa rIte samajAvatAM kahyuM che ke : 'vaLAnatAvasaMskAraduHsaiDuMLavRttivirobAca duHlameva sarve vivevinaH ' 9 --arthAt viSayomAM pariNAma du:kha, tApa duHkha, tathA saMskAra duHkha hoya che, ane vivekIne mana to sukha ane duHkha baMne duHkha rUpa ja che. sukha paNa pariNAme du:kha utpanna kare che. padArthamAtra triguNAtmaka che. temAM sattvaguNu sukharUpa che, roguNu du:kharUpa che ane tamoguNa moharUpa che. A traNeya guNo ekamekathI viruddha svabhAvavALA che. dAkhalA tarIke, dIvo prakaTAvavAmAM divela, diveTa ane agni traNanI AvazyakatA che. A traNeya ekamekathI bhinna svabhAvavALA che, paNa chatAMya temanA sahabhAvathI ja dIpa prakaTe che; temAMthI ekano paNa abhAva hoya to paNa dIpa prakaTAvavAmAM harakata Ave, tevI rIte saMsAramAM badhA padArtho sattva, rajas ane tamas ema triguNAtmaka banelA che. AthI karIne, jyAre koI paNa viSaya padArtha potAnA sattvaguNa aMzathI sukha Apato hoya, tyAre paNa temAM rajoguNanA aMzarUpI du:khabhAga tema ja tamoguNanA aMzarUpI mohabhAga aprakaTapaNe rahelo ja hoya che, ane te kyAre prakaTa thaze te kahI zakAya nahi. tamAma viSayapadArthonA svarUpathI A duHkharUpatA che. A rIte, pariNAma du:kha, tApa duHkha, saMskAra du:kha ane svarUpa du:kha A cAra prakAranI duHkharUpatA dareka viSayapadArthamAM rahelI che. je mANasa dehAndriyAdikamAM aMbuddhirahita thaI gayo che ane je potAnA AtmAmAM sthita che, tene dehanI apekSAe koI padArthanI icchA thatI nathI. parigraha jevI koI vastu ja AvA mANasa mATe saMbhavI zakatI nathI. parigrahathI mANusa sUcchita thAya che ane mUrchAthI karmabaMdha thAya che, eTale vivekI mANasa to dravyAdipa sarva parigrahano tyAga kare che; paNa dareka mAnavI Avo tyAga na karI zake eTale teNe rItasaranuM parigraha parimANu avazya karavuM joI e. potAnI jarUrata karatAM vadhu rAkhI mUkavuM, dabAvI rAkhavuM e saMdharAkhorI che, ane tethI ja samAjamAM achata pedA thAya che. achatamAMthI aneka aniSTo UbhAM thAya che. dharmazAstromAM pratiSThA dhanane nahi paNa saMyamane ApavAmAM AvI che. uttarAdhyayana sUtramAM kahyuM che ke : pratimAse koI daza lAkha gAyonuM dAna Ape tenA karatAM paNa kazuM nahi ApanArano mAtra saMyama zreyaskara che.' 10 nA-vArasa manuSyanA dhanane laI levA icchatA iSukAra rAjAne upadeza ApatAM tenI rANI kamalAvatIe kahyuM che ke : he rAjana ! tamane AkhuM jagata athavA badhuM ja dhana maLe to paNa e sarvathI tamane saMtoSa thaze nahi tema ja e tamAruM rakSaNa paNa karI zakaze nahi. ' 1 1 9 yogasUtra : 215 10 11 uttarAdhyayana sUtra (9-40) uttarAdhyayana sUtra (14-39)

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pApanuM mULa : parigraha : paha dharmazAstroe dhananI pratiSThAnA guNo nathI gAyA, paNa lokoe ja dhananI mahattA vadhArI dIdhI che. navatattva prakaraNamAM puNya bhogavavAnA betAlIsa prakAronuM varNana Ave che, temAM sonuM, cAMdI, hIrA-motI ke dhanadhAnyanI prApti koI amuka puNyaprakRtine AdhIna che tevuM darzAveluM jovAmAM AvatuM nathI. zrI munisuMdarasUrijIe kahyuM che ke : ' je paisA zatrune upakAra karanArA thaI zake che, je paisAthI sarpa, UMdara vageremAM gati thAya che, je paisA maraNa, roga vagere koI paNa Apattio dUra karavAne zaktimAna nathI, tevA paisA upara te moha zo ? 12 viveka eTale sat ane asat, athavA nitya ane anityane judAM pADavAnI zakti. AvA vivekI mAnavInA saMbaMdhamAM uttarAdhyayana sUtramAM kahyuM che ke : harSe nAme vatsyenA vivege vAhid----arthAt prApta thayelAM kAmabhogomAM paNa vivekIne icchA thatI nathI. mAnavajAta du:khanA bhojana taLe ribAI rahI che tenA kAraNamAM zrI araviMde kahyuM che ke : Blows fall on all human beings, because they are full of desire for things that cannot last and they loose them or even if they get, it brings disappointment and cannot satisfy them; arthAt duHkhanA dhA dareka mANasa para paDe che, kAraNa ke teo evI vastunI pAchaLa paDe che ke je vastu nitya rahetI nathI, ane tethI mANaso tene gumAvI de che, agara te vastu meLavyA pachI temane nirAzA utpanna thAya che, agara teone saMtoSa ApI zakatI nathI. nyAyavizArada munimahArAja zrI nyAyavijayajIe kahyuM che ke : ' sukha (vaiyika) nitya nathI, iMdriyo nitya nathI, bhogo nitya nathI, viSayo nitya nathI; arthAt A sakala prapaMca vinazvara che; AsthA rAkhavA lAyaka kaMI nathI'.13 jagatanA eka mahAna kavi zeksapiyare kahyuM che ke : ' sonuM e mAnavanA AtmA mATe kharAbamAM kharAba viSa che. A duHkhathI bharelI duniyAmAM bIjA koI paNa jhera karatAM dhananuM jhera vadhAre khUnonuM nimitta bane che.' maharSi haribhadrasUrijIe dharmanA mATe dhana prApta karavAnI icchA rAkhanArAo mATe kahyuM che ke:-- dharmArtha yasya vithA, tasyAnIhA garIyasI / prakSAlanAddhi paGkasya, dUrAdasparzanaM varam // arthAt dharmane mATe paisA meLavavAnI icchA karavI tenA karatAM tenI icchA na ja karavI e vadhAre sAruM che. page kacaro lAgyA pachI tene dhoI ne sApha karavA karatAM dUrathI kAdavano sparza na ja karavo, e vadhAre sAruM che. dharmazAstromAM kahyuM che ke : 'jema jema lAbha thato jAya, tema tema lobha vadhato jAya.' lobhanA AvA rahasyanA kAraNe zAstrakAroe DahApaNa vAparI dAnanA mahimAnI vAto lakhI che. sAcI rIte to dAna karatAM tyAgano ja mahimA vadhu che, ane tethI ja kahevAmAM AvyuM che ke : pravat sarvAmAnAM varatvano viziSyate~~arthAt sarva kAmonI prApti karatAM teno tyAga caDhI jAya che. pUjya vinobAjIe A upara eka sarasa dRSTAMta ApatAM kahyuM che ke : eka mANase prAmANikatAthI paiso meLavyo hato, paNa tethI tene saMtoSa na hato. potAnA iMgalAnA bagIcA mATe teNe eka kUvo khodAvyo. kUvo ghaNo UMDo gayo ane temAMthI moTA jaththAmAM paththaro ane mATI nIkaLyAM. A DhagalAno ra adhyAtmakalpadruma (a. 4-2) adhyAtmatatttAloka (5-26) 1.3

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60 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha eka DuMgara ja banyo. te potAnA manamAM vicAravA lAgyo : 'mArI tijorImAM paNa paisAno evo ja eka DuMgara bhego thayo che. tene lIdhe bIje kyAMka evaDo ja moTo khADo to nahi paDyo hoya ?' vicArano dhakko vIjaLInA AMcakA jevo hoya che. ATalA vicArathI tenI UMgha UDI gaI ne te jAgyo; e kUvo ja teno guru banyo. te kUvA pAsethI tene je maMtra maLyo tenI kasoTI upara teNe potAnI prAmANikatA dhasI joi. paNa te pUratA kasanI nathI ema tene jaNAyuM. 'vepArI prAmANikatA ' jALavI hoya toya AvA retInA pAyA upara mAruM ghara keTaluM TakavAnuM?' A vicAra tene jhoDa jema vaLagyo. Akhare, paththara ane mATI tathA mANeka ane motI emAMno taphAvata tene dekhAto baMdha thayo. 'nakAmo kUDokacaro saMdharI rAkhavAmAM zo artha che ? ' evo vicAra karIne te eka divasa suMdara paroDhiye UThayo. badhI saMpatti teNe gadheDAnI pITha upara lAdI ane te laI ne te gaMgAne kinAre pahoMcyo. 'he mAtA ! mAruM pApa dhoI nAkha' ema kahI teNe e badhI kamANI gaMgAmAtAnA khoLAmAM ThAlavI dIdhI ane snAna karIne mukta thayo. lokone A vAtanI khabara paDatAM tene jyAre pUchatAM ke ' tamArA aDhaLaka dhananuM dAna paNa na karyuM?' tyAre javAba ApatAM te kaheto : ' RcarAnuM te kAMI dAna karavAnuM hoya ? ' eka dhanavAna mANase jyAre zrI kRSNamUrtine pUchyuM ke : 'mArI pAse puSkaLa paisA che teno sadupayoga kema karavo ? ' tyAre teNe javAba ApatAM tene kahyuM ke : zoSaNu dvArA, nirdayatA dvArA, jaMgalIpaNA dvArA tame paisA meLavo cho. Adhunika jagatamAM mANusa paisA saMpAdana karavA bahAra paDe to ene hoziyAra, luccA, aprAmANika, nirdaya thavAnI jarUra paDe che. je, mane paisA bhegA karyAM che te mana udAra nathI; e niSThura mana che, ane e mana sthULa vastuno sthULa bhUmikA para ja vicAra karI zake. ' puNiyA zrAvakanA tyAganI vAta jaina sAhityamAM bahu prasiddha che. tene thayA pacIso varSa thaI gayAM hovA chatAM tenuM nAma jaina sAhityamAM amara rahyuM che. puNiyA zrAvaka pAse koI dolata na hatI ke teNe evuM koI dAna paNa karyuM na hatuM; teNe koI tIrthano jIrNoddhAra karAvyo na hato ke koI maMdira baMdhAveluM nathI. tenI kula mUDI AjanA paMcotera paisA jeTalI hatI. tenuM cAritra ane aparigrahavRtti joi koI camatkArI mahAtmA puruSa tenI para bhAre khuza thayo ane pArasamaNinA sparzavaDe puNiyo zrAvaka ane tenI patnI na jANe tema tenA dharanA loDhAnA tavAne suvarNano anAvI dIdho. puNiyA zrAvakane A vAtanI khabara paDI eTale te bahu nArAja thayo ane sonAnA tavAne sparza paNa na karatAM ukaraDAmAM ghaTAvI dIdho. jUno loDhAno tavo pArasamaNinA pApe gayo, eTale patipatnIe traNa divasanA upavAsa karyAM ane khAvAnA khorAkanA padArthonI bacatamAMthI navo tavo lIdho. pachI to A vAta jyAre pelA mahAtmAe jANI tyAre puNiyA zrAvaka pAse AvI pote karelAM aparAdhanI mAphI mAgI. vastuo-padArthono parigraha tema ja temAM rahelI mamatvabuddhi mANasane vinAzanA paMthe dorI jAya che, A vAta badhA dharmazAstromAM jovAmAM Ave che. bAIbalamAM lakhyuM che ke : eka dhanavAne IsunI pAse AvI potAne thatI azAMtinI phariyAda karI ane zAMtino mArga batAvavA vinaMti karI. Isue tene kahyuM : " dharmanA mArge javAthI sukha maLe che. koI jIvanI hatyA na karavI, asatya na bolavuM, corI na karavI, vyabhicAra na sevavo, mAbApane mAna ApavuM--A badhA dharmanuM pAlana karavAthI zAMti prApta karI zakAya che.' A upadeza sAMbhaLI pelA dhanavAne kahyuM : ' A badhuM to huM nAnapaNathI karato Avyo chuM, paNa tema chatAM zAMti nathI maLatI.' dhanavAnanI AvI vAta sAMbhaLI Isue tene kahyuM : ' tuM haju eka vAtamAM adhUro che. tAruM dhana daridrIone ApI de ane pachI zAMti mATe mArI pAse Avaje. tuM kadAca jANato nahi haze ke UMTane soyanA nAkAmAMthI pasAra karavAnuM kadAca zakya bane, paNa jenI pAse saMpatti che tenA mATe devanA rAjyamAM praveza karavAnuM to zakya nathI ja.' dhanavAne IsunI AjJAnuM pAlana karyuM ane tene zAMti maLI gaI.

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pApanuM mULaH parigraha : 1 Aje te ApaNuM cAre bAju judI ja paristhiti pravartI rahelI jovAmAM Ave che. vartamAna audyogika vikAsanA bhUte tema ja jIvanadhoraNa UMce ane UMce laI javAnA prayatnomAM naitika dRSTie ApaNuM jIvana nIce ane nIce jaI rahyuM che. mAnavI paisAno pUjArI banI gayo che. khAdhAkhorAkInI cIjomAM tema ja davAo ane dararojanA vaparAzanI vastuomAM mAlanI halakAI ane banAvaTa, dareka bAbatamAM kALAM nANAMno vyavahAra, dANacorInA dhaMdhA tema ja sarakArane karaverA bharavAmAM thatI chetarapiMDI-A badhI vastuoe have mAjA mUkI che, ane badhAMnuM pariNAma kevuM bhayaMkara Avaze tenI ka95nA karatAM paNa hRdayane bhAre AMcako lAge tevuM che. viSNupurANamAM lakhyuM che ke : "jyAre samAjamAM saMpattine ja pratiSThA maLe, dhanane ja dharmanuM sAdhana gaNavAmAM Ave, viSayavAsanAnI tRptine ja lagnano hetu mAnavAmAM Ave, strIne upabhoganuM sAdhana mAnavAmAM Ave, janoIne brAhmaNatvanuM lakSaNa mAnavAmAM Ave tyAre samajI levuM ke kalkI avatAra thavAno che." 14 vartamAnakALe to lokone ema lAge che ke dhana haze to ja soyanA nAkA jevA svarganA sAMkaDAM dvAramAMthI pasAra thaI zakAze. loko dhanane ja svargamAM javAno paravAno mAnI beThA che. jUnI duniyAnA mUrkha loko paisAne ja paramezvara mAnatA, paNa AjanI navI duniyAnI bhAre kaNatA to e che ke DAhyA gaNAtA lokoe paNa paramezvarane paisAno gulAma banAvI dIdho che. ApaNAM tIrthasthAno ane devamaMdiromAM bhagavAnanI pratimAnI prathama pUjAnA saMpUrNa adhikAra dhanavAna lokonA mATe ja rijharva hoya che, kAraNa ke uchAmaNInI bolImAM e loko ja dhaMdhAmAM dAvanI mAphaka mokhare UbhA rahI zake che. ApaNA moTA bhAganAM dhArmika anuSThAnomAM, upadhAnanI mALA paheravAmAM, paryuSaNamAM svapnAMone mALA paherAvavAnI ghInI bolImAM, pratiSThA mahotsava vakhate tIrthakaronA mAtApitA banavA mATenI uchAmaNInI bolImAM- ane AvAM bIjAM aneka dharmakAryomAM dhanavAnonI ja bolabAlA hoya che. paraMtu AvI badhI prathAo ane paddhatinA kAraNe ApaNI yuvAna prajAmAMthI AvI badhI zubha kriyAo tarapha zraddhA ane vizvAsa ochA ane ochA thatA jAya che tenuM ApaNane bhAna nathI. jUnavANI, rUDhicurasta ane aMdhazraddhA dharAvatA lokone ema lAge che ke AjanuM zikSaNa ApaNI yuvAna prajAne UMdhA raste doravI dharmavimukha banAvI rahyuM che; paNa kharI hakIkata to e che ke maMdiro ane upAzrayone ApaNe mAtra phaMDaphALA ekaThAM karavAnAM dhAma banAvI rahyAM chIe. je jaina darzane parigrahanA pApa viSe vadhumAM vadhu prakAza Apyo che, e ja jaina darzananA anuyAyIonAM gharamAM ane dharmasthAnakomAM paNa parigrahanuM pramANa moTA pramANamAM vadhatuM ane vadhatuM jovAmAM Ave che; AnAthI vizeSa karaNa adha:patana bIjuM kayuM hoI zake ? svataMtra bhAratanI ApaNI UgatI prajA AvI badhI nabaLAIo ane doSo mUgAmoDhe sahana karI leze ema vicAravuM e moTAmAM moTI bevakUphI che. derAsaromAM tIrthakaronA nAma joDI dharmanA nAme ApaNe peDhIo sthApIe chIe, ane tenA TrasTIo ane vahIvaTa karanArAo dhaMdhAdArI peDhInI mAphaka peDhInA phaMDo vadhAravAmAM dhyAna ApatAM hoya che. eka vidvAna jaina sAdhu eka vakhata kahetA hatA ke upAzrayamAM sAdhuone comAsu rAkhavAnI bAbatamAM vahIvaTa karanArAonI dRSTi sAdhunA rahevAnAM kAraNe thatI AvakajAvaka eTale ke naphAtoTAnI para ja hoya che. A rIte, ApaNuM pavitra dharmasthAnako dhaMdhAdArI peDhImAM palaTAtAM ApaNe joI rahyA chIe. badhI ja dhArmika kriyAo ane tamAma dharmaanudAno zubha ja artha eva abhijanahetuH, dhanamevAzeSadharmahetuH, abhirucireva dAmpatyasaMbaMdha hetuH, anRtameva vyavahArajanya hetuH strItvameva upabhogahetuH brahmasUtrameva vipratvahetuH liMgadhAraNameva AzramahetuH /

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62 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha hoya che emAM zaMkA nathI, paNa tenI pAchaLanuM mukhya dhyeya jIvanazuddhi hovuM joIe, arthavRddhi nahi vartamAnakALanI dhArmika kriyAo ane anuSThAno paNa zubha hovA chatAM jIvanazuddhinA mukhya dhyeyane badale temAM arthavRddhinuM tatva jovAmAM Ave che, ane tethI ja AvI kriyAo pratye ApaNu yuvAna bhAIbaheno Adarane badale dhRNAnI daSTie jovA lAgyA che. bhAratanA rASTrapati ane darzanazAstranA prakhara paMDita zrI rAdhAkRSNane tenA eka puratakamAM lakhyuM che ke : saMpatti e ja sarvasva nathI, e saghaLI uttama vastuo nathI kharIdI zakatI. mananuM ane AtmAnuM sukha, saMtoSa ane sabhAva jevI atizaya IcchanIya vastuo paisA vaDe kharIdI zakAtI nathI. jIvanamAM kevaLa upayogitAvAdanuM ja nathI cAlatuM. mANaso kAMI mAtra majUro athavA paisA pedA karanArA ja nathI; teo mAnava prANI che ane sauMdarya-prema ane mananI keLavaNI jevI mAnavabhAvanAo temane AkarSe che. jyAM sudhI ApaNane cittanI zAMti ane svataMtratA na maLe, tyAM sudhI bAhya ziSTatA ApaNane kazA kAmamAM nathI AvavAnI. mANasanI bhautika sthiti sudhAravAnI utkaMThAmAM ApaNe sAmAjika praNAlikAomAM parivartana karavA upara ane Adhunika jIvananI jaTila vyavasthAnuM bAhya svarUpa sudhAravA upara bhAra daI rahyA chIe, paNa mANasanI Icchita vastunA guNamAM ane parimANamAM jyAM sudhI sudhAro nahi thAya, tyAM sudhI sAmAjika praNAlikAomAM ane vyavasthAmAM game teTalA sudhArA karyuM kaMI ja vaLavAnuM nathI.' jaina samAjanA bahuzruta ane eka Adarza sAdhvIjI pU0 ujajavaLakuMvarajIe parigrahanA viSaya para vyAkhyAna ApatAM eka vakhata kaheluM ke : " hajAro varSothI aparigrahano upadeza apAI rahela che, chatAM haju samAjamAM aparigrahanI pratiSThA thavA pAmI nathI, te raNa zuM? A eka aNaukela prazna che. samAjamAM ahiMsAnI pratiSThA thavA pAmI che ane hiMsA pratye ghaNA jovAmAM Ave che. pahelA vatano bhaMga karanAra hiMsaka, kasAI sanmAnanIya nathI; cothA vratanI maryAdAno bhaMga karanAra durAcArI samAjamAM Adarane pAtra nathI; bIjA ane trIjA vratano bhaMga karanAra arthAt jUThI lakhANa lakhanAra ke corI karanAra zikSAne pAtra bane che. A rIte anya vratano bhaMga karanAra samAjamAM pratiSThA gumAve che ane kAyadAnI daSTie paNa sajAne pAtra bane che; tyAre prazna e uddabhave che ke pAMcamAM aparigraha vratano bhaMga karanAra ane amaryAditapaNe parigraha ekatra karanAra, samAjamAM ghaNAne pAtra ke zikSAne pAtra kema nahi ? tethI UlaTuM, jema vadhu parigrahI tema te samAjamAM vadhu sanmAnane pAtra bane che tenuM kAraNa zuM? parigraha prati Adara ja anarthanuM mULa che; dhanavAnane mAtra dhanane kAraNe jyAM sudhI sanmAna banyA karaze, tyAMsudhI mAnavInA hRdayamAMthI dravyalobha nAza nahi pAme. parigraha pratye samAjamAM je AdaravRtti che te to dUra thavI ja joIe." pUjaya kedAranAthajIe paNa Avo ja abhiprAya darzAvatAM eka lekhamAM kahyuM che ke : "pApothI meLavelA dhanathI dhanavAna thayelAone ApaNe Adara ane mAna pratiSThA ApIe chIe; kAraNa ke ApaNe sArvajanika kAmo mATe, moTAM moTAM maMdiro bAMdhavA mATe, enA moTA AIbarayukta utsavo ujavavA mATe paisA bhegA karavA temanI ja pAse javuM paDe che. paraMtu AvA ApaNA vartanathI temanA pApamAM ApaNe paNa bhAgIdAra thaIe chIe, e vAta bhUlI gaye cAlaze nahi." nItizatakanA eka zlokamAM bhartuhari jevA mahAna yogIe paNa kaTAkSavANImAM kahyuM che ke : "jenI pAse paiso hoya che, te ja mANasa kulIna gaNAya che, paMDita gaNAya che. zAstrajJa gaNAya che; guNajJa, vaktA ane suMdara gaNAya che. TUMkAmAM sarve guNa suvarNane Azraye rahe che." manovijJAnanI dRSTie A bAbata para vicAra karatAM ema lAge che ke samAjanA moTA bhAganA lokonA manamAM parigrahI loko pratye je sanmAna ane AdaranI lAgaNI jovAmAM Ave che, tenA mULa

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pApanuM mULa : parigraha : 13 kAraNamAM ema anumAna karI zakAya ke AvA lokonA manamAM paNa UMDe UMDe dhana ane dolata pratyenI Asakita sukha agara jAgrata athavA baMne avasthAmAM paDelI ja hoya che. mAnavamAtranuM mana be vibhAgamAM vaheMcAyeluM hoya che. mananAM upalA paDane ApaNe jAgrata mana kahIe chIe jene jaina pAribhASikamAM bAhya mana kahevAmAM Ave che. parigraha parimANa tema ja anya vrato ane vidhavidha niyamo dvArA bAhya mananuM ghaDatara, niyamana karI zakAya paNa jAgrata ke AMtaramanamAM e samaja jAgrata na thaI hoya to Avo bhANasa samaja pramANe vartana karI zakato nathI, agara tenI samaja ekasarakhI TakI rahI zakatI nathI. AthI ja jAgrata tema ja AMtaramana vacce aikyatA sAdhI zakAya to ja mANasa tenA Adarzo pramANe jIvana jIvI zake che. jaina dharmazAstroe parigrahanA mukhya be vibhAgo batAvyA che. eka bAhya ane bIjo AtyaMtara. bAhya parigrahanA daza prakAro che: ghara, khetara, dhana, dhAnya, nokara-cAkara, pazu (dhoDA, gAya i.), zayanAsana, vAhana (gADI, savArInA sAdhano), gharavakharI, ane dhAtu tathA mATInAM vAsaNa-A badhAMno samAveza ragrahamAM thAya che. bAhya parigrahanA padArthomAM mukhyatve svajana, dhana, dhAnya, strI, pazu, putra, pura, khANa, ghara, nokara, mANeka, hIrA, ratna, sonuM, rUpuM, zayyA, vastra, AbharaNa vagere AvI jAya che. AtyaMtara parigraha cauda che : mithyAtva, puruSada, strIveda, napuMsakaveda, hAsya, rati, arati, zoka, bhaya, jugupsA, krodha, mAna, mAyA, ane lobha-A cauda AvyaMtara parigraha che. dharmazAstromAM sarva parigrahano tyAga upara bhAra ApatAM kahyuM che ke : sarvasaMparityA tya zrIkinA-arthAta du:khathI sadaMtara dUra rahevAnI IcchAvALAe samasta prakArano parigraha eTale ke sarva padAthono saMga choDI devo joIe. samasta jagata Aje kAMtA ane kanakanA sUtrathI baMdhAyeluM je Ave che, ane saMsAranA tamAma du:khonuM kAraNa paNa A ja che. eka tarapha dhanavAnone tyAM mojazokhanA padArtho ane khAvAnI vastuono pAra nathI; tyAre bIjI tarapha khAvAnI tema ja paheravA-oDhavAnI vastuonA abhAve lAkho loko bhUkhe mare che ane TADhe kare che. A viSamatA javI ja joIe. vartamAna jagatamAM parigraha parimANanuM kSetra have ApaNe vistAravuM paDaze. zarIramAM jarUrI pramANa karatAM vadhu zakti pedA thavI e paNa parigrahano eka prakAra che. AvA parigrahamAMthI kAma ane anya vikAro utpanna thAya che. A daSTie mANasa jeTalo parizrama ane mahenata karato hoya teTalA ja pramANamAM teNe khorAka levo joIe. A niyamanuM pAlana nathI thatuM eTale ja AjanI duniyAmAM aneka prakAranA rogo vadhyA che. DAyAbITIjha, lohInuM dabANa, ane hRdayaroga Aje sAmAnya dardo jevAM thaI gayAM che. dhanavAna lokone kAma nathI karavuM, paNa tema chatAM badhI jAtanA svAda mANavA che. AnA pariNAme vRkSa paranA pAkAM phaLomAM jema saDo thAya che tema dhanavAna vargamAM paNa saDo thaI gayo che. AvA saDAnuM mukhya kAraNa parigraha che, ane saDAnuM pramANa paNa bahudhA parigraha pramANe che. parigrahanI vyAkhyA karatAM mahAtmA gAMdhIjIe to cokakhuM ja kahyuM che ke : "je vicAra ApaNane IzvarathI vimukha rAkhe che, athavA Izvara prati na laI jatA hoya te badhA parigrahamAM khape, ane tethI tyAya che." zrI yazovijaya upAdhyAyajIe sAcuM ja kahyuM che ke : sukhino viSayatRptA, nendropendraadyo'pyho| bhikSurekaH sukhI loke, jJAnatRpto nirnyjnH|| asaMtuSTa parigraha bharyA, sukhIyA na Ida na rIMda, saluNe; sukhI eka aparigrahI, sAdhu sujasa samakaMda, luNe; parigraha mamatA pariharo.

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aMtarAtma darzana phattecaMda jhaverabhAI zAha bhautika sRSTimAM manuSyane traNa avasthAo hoya che : bAlyAvasthA, yuvAvasthA ane vRddhAvasthA. tevI rIte * AdhyAtmika sRSTimAM paNa traNa avasthAo hoya cheH bahirAtmA, aMtarAtmA ane paramAtmA. A traNe avasthAo jaina darzananA pAribhASika zabdomaryo che. tyAM sudhI AtmA ane zarIrane bhinna jANyA nathI-AtmA che, karma che, karmano kartA che, karmano bhoktA che, mokSa che ane mokSano upAya che, A samajaNa-zraddhA AmAmAM janmI nathI-tyAM sudhI te bahirAmA kahevAya che. A zraddhA ane samajaNanA abhAve akhila jIvanamAM AtmAnuM kArya bhogavilAsane sarvasva mAnI temAM ja ramaNatAvALuM hoya che paraMtu uparyukta cha vibhAgonI vicAraNA vivekapUrvaka kare te bahirAtmapaNuM dUra thavA mAMDe che ane aMtarAmapaNAmAM praveza thAya che. zrImad AnaMdadhanajI kahe che ke, "bahirAtamAM tejI aMtara Atama, rUpa thaI sthira bhAva, paramAtamanuM Atama bhAvavuM, Atama arpaNa dAva"--matalaba ke samarpita jIvananI gatizIla AcArasaMhitA te aMtarAtmApaNuM che. aMtarAmapaNuM e keTalAMka pAyAnAM mUlyomAMthI preraNA meLavato jIvanamArga che; cetanA ane sarjakatAno preraNAstrota che. aMtarAtmapaNAnuM mUlya naitika ane AdhyAtmika vyavasthA, vicAra, vANI ane vartananI ekavAkyatA, samarpaNa bhAvanA, paramAtamAM AgaLa "ahaM nuM vigalitapaNuM ane prabhune jIvana samarpaNa karI devAnI tamannA. vyakitagata ane sAmUhika jIvanamAM prastuta mUlyono viniyoga karavA mATe vAsanA, pralobhana, dveSa vagerenuM udAtta mahattvAkAMkSAmAM (prazarata bhAvomAM) rUpAMtara karavAnuM hoya che. ArasanA acetajaDa ane kaThina paththarane zi9pakAra pratimA banAvI sAkSAta tIrthakara svarUpa prakaTAve che, tema, bahirAma svarUpamAMthI aMtarAma svarUpano AvirbhAva karavAno che. manuSyano carama udeza e che ke AtmAno vikAsa karI Akhare teno parama AtmAmAM laya karI zaddhAmAM prakaTAvavo ane jene ApaNe "huM" kahIe chIe tene eka parama samarasa citanyaghanamAM abhedapaNe pariNAvavuM. jema potAnA saMbaMdhamAM deha ane AtmAne viveka thayo ane alaga dekhavAnuM zarU thayuM te ja

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aMtarAtmadarzana : 5 pramANe je je zarIro ApaNI najara AgaLa Ave tene deha rUpe nahi jotAM--deha tarapha daSTi na ApatAM tenI aMdara rahelA a95prakAzane ja jovAnI Teva pADavI te aMtarAtmadarzana che. ATaluM kAma jo A janmamAM karavAmAM Ave to bhavAMtaramAM mokSa tenAthI cheTuM nathI. AtmA paramAtmA banI raheze. AvI AtmadaSTi jAgrata thavA mATe niraMtara abhyAsanI jarUra che. A ja samyagu darzana-samyaga jJAna che. jaMganI bAhya ane AMtara ghaTanAo vicitrapaNe lAgavA chatAM je AtmAo e ghaTanAne svAbhAvika mAne che, te AtmAe kharekharI rIte sthitaprajJapaNe dAkhavyuM che. AkhuM vizva tenA sAthe saMbaMdhavALuM anubhavAya che. pote vizvano che, vizva tenuM che evuM ugra bhAna tene rahyA karatuM hoya che. zrImada yazovijayajI upAdhyAya kahe che ke, nizcaya dRSTi hRdaya dharIjI, pALe je vyavahAra"--e aMtarAtmapaNAnuM lakSaNa che. sAdhyadRSTi te manuSya cUkato nathI-temAM satata jAgrat rahyA kare che. svAmI rAmatIrtha kahe che ke, "I was never born, yet my births of breath are as many as waves on the sleepless sea."- arthAt huM amara chuM, joke A zvAsocchavAsanI sRSTimAM huM akhaMDa mahAsAgaranA taraMgonI saMkhyAmAM jamyo chuM, chatAM vAstavamAM huM ajanmA chuM-AvA prakAranA amaratvano bhAnathI te manuSyamAM bhaya, tiraskAra, kheda, glAni, dhikkAra, Adino abhAva thato jAya che. te mAnavo atyaMta mAyALu hoya che, prasannavadanavALA hoya che, prANIo tarapha aMdhatva-e siddhAMta temanAM romeromamAM pariNamelo hoya che, vizva ane prANIpadArtha taraphathI tenI daSTa pheravAI gayela hoya che. amaka sAruM ane amuka khoTuM e bhAvanA tarapha vivekathI jAgrata thato manuSya aMtarAtmakoTimAM praveza karavAne lAyaka hoya che. ahIM prazasta rAganI mAnyatA hoya che. krodha ane dhikkAranI je lAgaNIo paraniMdA khAtara prabala thatI hatI te have upayogI ane anyane hitakArI pariNAmavALI paristhitimAM prakaTe che. sva-paranuM hita A koTinA manuSyo yuktithI judI judI lAgaNIo pradarzita karI sAdhatA hoya che. emanI yuktio svArtha sAdhavA khAtara hotI nathI, paraMtu sva-paranA hita khAtara ja yojAya che. pratyeka kriyAo samajaNapUrvaka ane hetupUrvaka karatA hoya che. manuSya jIvana koI ucca hetu mATe che evuM jAgrat bhAna temane A paristhitimAM niraMtara hoya che. IdriyanA vikAro upara bane teTaluM saMyamana rAkhavA prayatnazIla jaNAya che. temano vyavahAra evo suMdara hoya che ke bIjAo tenuM anukaraNa karavA lalacAya che. zarIrabaLa ane manobaLano vikAsa A koTinA manuSyone jarUravALo lAge che. jyAre jyAre niHsvArthI kArya temanA hAthe bane che tyAre svAbhAvika zAMti prakaTI nIkaLe che. pUrvAvasthAnA bALa khyAlo tarapha hasavuM Ave che tema ja atyAra sudhInA pApagya vartana mATe pazcAttApa prakaTe che. jinezvara prabhunI prazAMta mUrtimAM sAkSAt jinezvarane virATa svarUpamAM jovA e paNa aMtarAtma darzanavALA AmAnI kaLA hoya che. prAthamika dRSTie temanI sAthe hAloDahaM banI pachI soDamAM praveza karavAno che. ane "jinavara pUjA re te nijapUjanA re' e zrImadda devacaMdrajInA kathana mujaba prakaTa karavuM e samya darzananuM ucca svarUpa che. bIjo mArga buddhimAna prakRtinA manuSyone anukULa thAya tevo che. sabhyazraddhA prakaTa thayA pachI A vizva, AtmA ane karmane mahAprazna buddhinA vyApArothI, tarkothI, zodhakhoLathI, ciMtanathI, vijJAnathI ane mAnasa-jJAnanA prayatnothI ukelavAno mArga che. guktimatvane carcA tasya vArtha ghara e zrImad haribhadrasUrinA vAkyanuM avalaMbana laI philosopharo, tavo, manovijJAnazAstranA abhyAsako ane tejasvI buddhinAM strI-pu sarvajJasiddhAMtanuM vAstavika rIte pRthakkaraNa kare che. emaNe keLavelI buddhiprakRtine e mArga bahu baMdhabesato che. zAstramAM tene abhinavajJAna athavA jJAnayoga kahelo che. su0 gra05

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66: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha AtmAnI zakti vikasAvavI ane krame krame tene UrdhvatAmAM laI javA mATe A mAnavajanmanuM mUlya che. saMka9pabala vaDe mAnasika zaktio upara Adhipatya sthApavuM, ApaNI prakRtinA nimna aMzone ucIkaraNa-kAryamAM levA, manane vAsanAnA mArga upara jatuM aTakAvI iSTamArgamAM vaLagADI devAnuM sAmarthya phurAvavuM, ane mananI sahAya vaDe AtmavikAsane parama uddeza siddha karavuM ene zAstrakAroe "rAjayoga" kahelo che. | samandarzanazAnacAritrALa mokSamA e tattvArthanuM sUtra che. mokSamArganA badhA bhAge ekabIjA sAthe evA saMkaLAyelA che ke potAnI prakRtine anukULa paDe tevo game te zubha mArga grahaNa kare chatAM te svIkArelA mArga sivAya anya mArgo tarapha te leza paNa upekSA rAkhe e vAstavikatAthI viruddha che. A mArgo te "nayo che. koIpaNa nayane" mukhya karI bIjA nayone gauNa karI tattvajJAna sRSTimAM ane bhautika sRSTimAM pravartavAnuM che. jaina paribhASAmAM AnuM nAma "syAdvAda" che. dareka "nayanuM rahasya ane sArabhUta tatva manuSya samajavuM joIe, paraMtu te sarve mArgamAM eka mArga nayanuM prAdhAnya--tenA aMtaHkaraNa upara hovAM joIe. AtmAnI unnati mATe yoga asaMkhya che jina kahyAM'----e zrImada upAdhyAyajInA vacana pramANe AtmAnI prasannatA mATe te te yogonuM avalaMbana laI bhaktimArga tarapha prayAsa karavAno che. jaina siddhAMtanA guNasthAnakanI paribhASAmAM aMtarAtmapaNuM caturtha guNasthAnakamAM "sthirA dRSTithI" zarU thAya che ane te bAramAM guNasthAnaka sudhI gaNAya che. temAM guNasthAne paramAtmapaNuM--aramAnI pUrNAvasthA--prakaTe che. caturtha guNasthAnakathI mAMDIne bAramA guNasthAnaka sudhImAM AtmAne asaMkhya prakAranI avasthAomAM pasAra thavAnuM hoya che. samya daSTi darzananI prApti caturthaguNasthAnakamAM pragaTe che. A aMtarAtma-prApta manuSyanuM viziSTa lakSaNa e hoya che ke AkhA vizvamAM te eka prakAranuM mahAna jIvana anubhave che ane pote mahAivanano (paramAtmapaNAno) vibhAga che ema jue che. e mahAivana- paramAtmapaNe-te saMgrahatyanI dRSTie "huM ja chuM" te ane "huM chuM" e ja mahAivane che. tethI ja zAMtinAthajInA stavanamAM zrImad AnaMdaghanajIe kahyuM che ke "aho ho huM mujhane kahuM, namo mujha namo mujha re, amitala dAna dAtAranI jehanI bheTa thaI tujha re." prastRta aMtarAtmA potAnI AsapAsanA manuSyo mATe maitrI, pramoda, kAra ane mAdhyarazya bhAvanAvALuM vizALa hRdaya rAkhatA hoya che ane jyAM jyAM aniSTa guNo ke vartanano te bhAva jue che. tyAM tyAM te prakAre hovA yogya che ema dhArI samabhAvamAM rahe che. krodha mAne mAyA lobhamAM rakata thayelA mAnavo tarapha karaNa dRSTithI jue che. puruSanI dRSTi mATe upamiti bhavaprapaMco kathAkAre pAghuta: katAM dRSTo e vAya vApareluM che. tene anusarIne aMtarAtma avasthAvALo mAnava machavANathI salAha Ape che ke, "bhAI, A pazunI bhUmikAne yogya lakSaNone tamAre saMyamamAM rAkhavA ghaTe che, tenI pAsethI tamAre svAmI tarIke kAma levAnuM che, te vRttionA sevaka banI tenI gulAmImAM rahevuM yogya nathI. ane ema thaze tyAre ucca jIvana jIvavAno anubhava thaze. chatAM te pramANe te na kare to te baMdhu upara tiraskAra Avato nathI. dhikkAranI avasthAne te oLaMgI gayelo hoya che. AtmAnA "uraca ane adho' e ubhaya aMzo tene anubhavagamya hoya che. AtmAnI sarvAvasthAmAM kevI kevI tenI rithatio hovA yogya che te samajI zake che. te jANe che ke mAro ajJAta baMdhu anubhavanA aMte ghaDAyA pachI eka vakhata sudharaze ane vAstavika rIte aMtarAtmapaNuM prApta karaze. paramAtmA sAthe potAnI ekyatA che tevI samajaNamAMthI je nizcitapaNe udabhave che tethI A aMtarAtma avasthAvALo manuSya bhayarahita rahe che. zrImad AnaMdadhanajIe kahyuM che ke, "bhaya caMcaLatA ho je

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: 39 aMtarAtmadarzana : pariNAmanI re'--jethI te vyakti vartamAna ane bhAvI e ubhayanI sAthe nirbhayapaNe sAme moDhe laDe che ane AnaMdapUrvaka paramAtmapada meLavavAnI abhilASAnA mahAsAhasamAM pragati kare che. aMtarAtma avasthAnuM A saMkSipta darzana che. upasaMhAramAM aMtarAtmapaNAnA nicoDa rUpe jaNAvavAnuM ke vAstavika rIte ' AtmA' e ja 'saMsAra ' che ane ' AtmA' e ja 'mokSa' che e prakAranuM rahasya arpato pU. hemacaMdrAcAryajIe yogazAstramAM nirUpaNa karelo mAMgalika zloka sAdara karI viramuM chuM. ayamAtmaiva saMsAraH kaSAyendriyanirjitaH / tameva tadvijetAraM mokSamAhurmanISiNaH // "6 kaSAya ane iMdriyothI jitAyalo AtmA e ja saMsAra che, paraMtu AtmA jyAre temanA upara jaya meLave che tyAre te ja AtmAne paMDitajano mokSa kahe che."

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che zrI raNezvarArzvanAthAya namaH yogabiMdunA TIkAkAra koNa? cAkinImahArAsanu AcAryapravara zrImAna haribhadrasurIzvarajI mahArAje racelo yogabiMdu graMtha TIkA sAthe bhAvanagaranI jainadharmaprasAraka sabhA taraphathI vikrama saMvata 1967mAM prakAzita thayo hato. tenuM saMzodhana tathA saMpAdana ela. lI (LUIGI SUALI) nAmanA yuropiyana (jarmana) vidAne kareluM hatuM. tyAra bAda vikrama saMvata 1996mAM amadAvAdanI jainagranthaprakAzaka sabhA taraphathI tenuM prakAzana thayuM che. A baMne prakAzanomAM yogabiMdunI TIkAne paNa jaNAvelI che, eTale ke "haribhadrasUri mahArAje pote ja yogabiMda upara TIkA racI che? e jAtanI prasiddhi vyApaka rIte thavA pAmI che. paraMtu AjathI lagabhaga ATha varSa pUrve jyAre saTIka yogabiMdu vAMcavAno meM prAraMbha karyo tyAre mane tarata ja lAgyuM hatuM ke A TIko haribhadrasUrijI mahArAjanI potAnI nathI, pachI to jema jema vAMcato gayo tema tema aMdaranAM ja pramANothI mane khAtarI thaI cUkI ke A TIkA svapajJa nathI ja. mArA vicArane paSTa karanArA keTalAka AdhAro A lekhamAM ApavAno prayatna karavAmAM Avaze. (1) TIkAnA prAraMbhamAM maMgalAcaraNa karyA pachI bIjo tathA trIje kloka nIce mujaba che : sudhaabindorivaanndmmndmupcinvtH| yogabindoH samAsena vRttireSA vidhIyate // 2 // gurUpadezo na ca tAdRgasti matirna vA kAcidudArarUpA / tathApi yogapriyatAvazena yatnastadabhyAsakRte mamAyam // 3 // bIjA zlokamAM "yoganiMdanI saMkSepathI TIkA ha racuM chuM" A jAtano nirdeza karyA pachI trIja zlokamAM jaNAve che ke, "(TIkA karavA mATe jarUrI) tevA prakArano guru pAsethI upadeza (bodha) prApta thayo nathI, tema ja tevI zreSTha buddhi paNa nathI, to paNa mane yoga priya hovAne lIdhe yogAbhyAsanA uddezathI A (TIkA racavAno prayatna Adaryo che." TIkAkAranA A lakhANa uparathI jaNAya che ke mULakAra karatAM TIkAkAra judA che ane tethI ja haribhadrasUri mahArAjanA yogabiMdu upara TIkA racatAM potAnI nirbaLatA

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yogabiMdunA TIkAkAra koNa : 9 prAraMbhamAM ja teozrI jaNAvI de che. je haribhadrasUrijI mahArAja pote ja A TIkAnA racayitA hota to potAnA graMthano ja artha spaSTa karavAmAM potAnI nirbaLatA jaNAvavAnI jarUra paData nahi. (2) 179mo kloka ane tenI TIkA nIce mujaba che : asyaiSA mukhyarUpA syAt pUrvasevA yathoditA / kalyANAzayayogena zeSasyApyupacArataH // 179 // asya apunarbandhakasya eSA prAguktA mukhyarUpA nirupacaritA syAd bhavet pUrvasevA devAdipUjArUpA yathoditA yatprakArA nirUpitA prAk kalyANAzayayogena manAga muktyanukulazubhabhAvasambandhena / zeSasyApi apunarbandhakApekSayA vilakSaNasya sakRbandhakAdeH upacArata aupacArikI pUrvasevA syAdadyApi tathAvidhabhavavairAgyAbhAvAt tasya / iha kecid mArgapatita-mArgAbhimukhAvapi zeSazabdenAhuH / tacca na yujyate, apunarbandhakAvasthAvizeSarUpatvAt tayorapunarbandhakagrahaNenaiva gatatvAt / yato lalitavistarAyAM mArgalakSaNamitthamuktam "Iha mArgazcetaso'vakragamanaM bhujagagamananalikAyAmatulyo viziSTaguNasthAnAvAptipraguNaH svarasavAhI kSayarAmavivaH" ta aa tatra praviSTo mArgapatitaH, mArgapravezayogyabhAvApanno mArgAbhimukhaH / evaM ca naitAvapunarbandhakAvasthAyAH paraparatarAvasthAbhAjI vaktumucitau, bhagavadAjJAkgamayogyatayA paJcasutrakavRttAvanayoruktatvAt / yathoktaM tatra ___"iyaM ca bhAgavatI sadAjJA sdaivaapunrbndhkaadigmyaa| a~punarbandhakAdayaH ke sattvAH ? utkRSTAM karmasthiti tathA'punarbandhakatvena ye kSapayanti te khlvpunrbndhkaaH| AdizabdAd mArgapatita-mArgAbhimukhAdayaH parigRhyante dRddhprtijnyaalocnaadigmylinggaaH| etadgamyeyam , na saMsArAbhinandigamyA" iti / saMsArAbhinandinazcApunarbandhakaprAgavasthAbhAjo jIvA iti / ahIM pUrAvArataH A mULamAM zag zabdathI kayo artha levo e viSe TIkAkAre je lakhyuM che te khAsa dhyAna kheMcI le che. seva zabdathI sakRbaMdhakAdi levA, paNa mArgapatita ke mArgAbhimukha nahi, evo TIkAkArano abhiprAya che, jyAre bIjA keTalAkano abhiprAya evo che ke seva zabdathI mArgapatita tathA mArgAbhimukha paNa levA. TIkAkAre bIjAnA abhiprAyanuM khaMDana karIne potAnA abhiprAyanuM samarthana karavA khAsa prayatna TIkAmAM karyo che. have je haribhasUri mahArAja pote ja kharekhara TIkAkAra hota to pote lakhelA roDa zabdano artha kayo che e prazna upasthita thavAno avakAza ja na Avata. yogabiMdunA TIkAkAra haribhadrasUri mahArAjathI judA che mATe ja temanI sAme e prazna upasthita thayo che ane tethI ja 1 lalitavistarAmAM magnadayANaM'nI TIkAmAM A pATha che. apunabaMdhakanuM svarUpa yogazatakanI 13mI gAthAmAM haribhadrasUri mahArAje jaNAvyuM che. tema ja bhagavAnanI AjJA kayA kayA jIvone kevI kevI rIte prApta thAya che A saMbaMdhamAM upadezapadanI gAthA upara thI 262 sudhInI gAthAo paNa TIkA sAthe dhyAnamAM levA jevI che. 3 paMcasUranA pAMcamA sUtranI vRttimAM A pADe che. 4 hastalikhita pratione AdhAre zuddha karelA ane tapasvi pravara pUjyapAda paMnyArAjI zrI kAMtivijayajI gaNivare noMpelAM pADovALA cogabiMdurIkAnA pustakane AdhAre A pATha ahIM Apyo che. paraMtu cAgAbaMdurIkAnA jainagraMtha prakAzakasabhAnA tema ja jainadharmaprasArakasabhAnA prakAzanamAM apunarvaSADhayo saravA vaNAM tharmafsthati tathA:punarvadhavAna kSayati te phlipunaH evo pATha che. paMcatravRttimA vyApAra apunarbandhakAdayo ye sattvA utkRSTAM karmasthiti tathA'punarbandhakatvena ye kSapayanti te vaipunarvathail: e pramANe che. :

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70 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthe bIjA koI TIkAkAra athavA to maukhika vyAkhyAkAranA abhiprAyanI noMdha laIne tenuM khaMDana karIne svaabhiprAyanuM samarthana karavAno temaNe prayatna karyo che. vaLI svamatanuM samarthana karavA mATe lalitavistarA tathA paMcasUtrakatti ke je baMne haribhadrasUri mahArAjanI ja kRti che teno AdhAra laIne zeSa zabdano artha nakakI karavA TIkAkAre prayatna karyo che. je kharekhara haribhadrasUri mahArAja pote ja A TIkAkAra hoya to potAnA abhiprAyanI siddhine mATe potAnA ja anya graMthomAM lakhelA lakhANane pramANa tarIke rajU karavAno e ahIM prayatna kare ja nahi. eTale A 17mA zlokanI TIkAthI e vAta spaSTa dekhAI Ave che ke TIkAkAre "haribhadrasUri mahArAjane rapa zabdano kayo artha abhipreta haze" e nakkI karavA mATe haribhadrasUri mahArAjanA bIjA graMthono AdhAra laIne bIjAonA abhiprAyanuM khaMDana karIne svaabhiprAyanuM samarthana karyuM che. AthI nizcita jaNAya che ke mULakAra tathA TIkAkAra bane paraspara judA che. (3) yogabiMdumAM 438thI 442 sudhI nIce mujaba zloko che : evaM ca tattvato'sAraM yaduktaM matizAlinA / iha vyatikare kiJciccArubuddhayA subhASitam // 438 / / jJAnavAn mRgyate kazcit taduktapratipattaye / ajJopadezakaraNe vipralambhanazaMkibhiH / / 439 / / tasmAdanuSThAnagataM jJAnamasya vicAryatAm / kITasaMkhyAparijJAnaM tasya naH kopayujyate // 440 // heyopAdeyatattvasya sAbhyupAyasya vedakaH / yaH pramANamasAviSTo na tu sarvasya vedakaH // 441 // dUraM pazyatu vA mA vA tattvamiSTaM tu pazyatu / pramANaM dUradarzI cedeta gRdhrAnupAsmahe // 442 / / ahIM 438thI 442 sudhInA zlokomAM haribhadrasurijI mahArAje prasiddha bauddha tArkika dharmakIrtine mata rajU karyo che. dharmakItinuM kahevuM ema che ke "amAre mokSa mATe tattvadarzInI jarUra che, e sarvajJA hoya ke na hoya e sAthe amAre koI nisbata nathI." sAmAnya rIte bauddho sarvane mAnanArA che, chatAM dharmakAtie e vAta upara bhAra na mUkatAM buddhanA tattvadarzipaNA upara ja bhAra mUkyo che. pramANuvArtikanI cAra kArikAomAM dhamakIrtie potAno A mata darzAvyo che. A ja cAra kArikAo haribhadrasUrijI mahArAje ahIM uddhata karelI che. chatAM TIkAkAre A cAra kArikAomAM sarvajJavirodhI vAdanuM pratipAdana hovAthI Ane mImAMsane mata mAnI laIne yaduvaM matirAtrinA A 438mAM lokanA aMzanI vyAkhyA karatAM cai matirAtrinA mArinTena A pramANe vyAkhyA karI che. A cAra kArikAonI vyAkhyA paNa mImAMsaka matane anusarIne karI che. tema ja 444mA lokanI avataraNikAmAM paNa rUvaeN mImAMsamatamAkRtya sAMthanira/karAyANa ema yogabiMdunA TIkAkAre lakhyuM che. hakIkatamAM A bauddhono mata che, kArikAo paNa bauddhonI che, tenI vyAkhyA paNa bauddha mata anusAra karavAnI che. chatAM TIkAkAre Ane mImAMsakano mata mAnI laIne mImAMsakonA prasiddha agraNI sarvasavAdavirodhI kamATilanA nAme cAre kArikAone ka95nAthI caDAvI lIdhI che. je haribhadrasurijI mahArAja pote ja A TIkAnA racayitA hota to A prasiddha hakIkata viSe Ama banavA pAmata nahi.

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(4) yogabiMduno chello zloka nIce mujaba che : samuddhatyArjitaM puNyaM yadenaM zubhayogata: / bhavAnyavirahAt tena janaH stAd yogalocanaH || 527 // cogabiMdunA TIkAkAra koNa? : 71 AnI TIkAmAM TIkAkAra jaNAve che ke virlR vRti ca mAvata: zrIharimaMdrasUre svapnotara ti| have A TIkA kharekhara je svopana hoya to haribhadrasUri mahArAja potAne mATe ' bhagavAn haribhadrasuri ' evo ullekha kare ja nahi. ahIM 'bhagavAna haribhadrasuri' evo TIkAmAM ullekha hovAthI dIvA jevuM spaSTa che ke, 'yogabiMdu mULanA kartA haribhadrasUrijI mahArAja che, jyAre enA TIkAkAra koI bIjI vyakti che.' A uparAMta A TIkAnuM sukSmadaSTie avalokana karavAthI AA paNa evA AdhAro maLavAno saMbhava che ke je upara jaNAvela hakIkatanuM samarthana kare. A TIkAkAre TIkAmAM koIpaNu sthaLe potAnA gurvAdikanA nAmano nirdeza karelo na hovAthI emanuM zuM nAma hatuM, temanI guruparaMparA kaI hatI tema ja teo kayA samayamAM vidyamAna hatA e kaMI paNa jANI zakAtuM nathI. TIkAmAM uSkRta karelA aneka pAThonA mULasthAnonI gaveSaNA karavAthI saMbhava che ke temanA sattAsamaya viSe kaMIka kalpanA karavAnuM sAdhana maLI Ave. vidrAno A viSe vizeSa gaveSaNA karaze evI abhilASAthI A lekha samApta karuM chuM. vi. saM. 2021, zrAvaNude pa mAMDavI (kaccha) pUjyapAdaguru devamunirAjazrIbhuvanavijayAntavAsI muni jaMbUvijaya

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sindrarAja jayasiMha ane kumArapAlano prajJAcakSu rAjakavi zrIpAla bhogIlAla ja0 sAMDesarA IsavI sananI dasamIthI teramI sadI sudhI aNahilavADa pATaNamAM rAjya karanAra gujarAtanA caulukya rAjAomAM siddharAja jayasiMha(I sa0 1094-1143)ne loko sauthI vadhu yAda kare che. hajI paNa lokasAhityamAM ane lokanATya arthAta bhavAImAM te jIvaMta che. vikrama ane bhojanI jema siddharAja paNa jANe daMtakathAnuM pAtra banI gayo che. eno darabAra bhAratanA sarva pradezonA vidvAnonuM milanasthAna banyo hato. siddharAjanA suparicita manISIomAM 'kalikAlasarvajJa' hemacandra mukhya hatA, jemaNe tatkAlIna bhAratamAM kheDAtI vidyAnI sarva zAkhAomAM AdhArabhUta grantho racelA che. hemacandra eka jaina AcArya hatA ane emanI AsapAsa emanA potAnA vidvAna ziSyonuM eka vartuLa hatuM. siddharAjanA darabAranA bIjA kavipaMDitomAM teno prajJAcakSu rAjakavi zrIpAla mukhya hato. vijayapAlakRta 'draupadIsvayaMvara nATaka'nI ( bhAvanagara, 1918) hindI prastAvanAmAM AcArya jinavijayae ane hemacandrakRta 'kAvyAnuzAsana'nI (muMbaI, 1938) aMgrejI prastAvanAmAM (pR0 255-261) praoN. rasikalAla cho. parIkhe zrIpAla kavinA jIvana ane kArya viSe nirUpaNa karyuM che. vizeSa utkIrNa ane sAhityika sAmagrInI zodha ane prakAzanane pariNAme zrIpAla viSe keTalIka vadhu mAhitI jANavAmAM AvI che. prApta sAmagrIne AdhAre zrIpAlanA jIvana ane kRtiono saMkSipta paricaya ApavAno A nibaMdhano prayatna che. zrIpAlano kauTumbika vRttAnta zrIpAlanA jIvana ane kArya viSe nIcenAM sAdhanomAMthI mAhitI maLe che: (1) madhyakAlIna gujarAtanA aitihAsika saMskRta prabaMdhomAMthI, (2) siddharAja jayasiMhanA darabAramAM zvetAMbara AcArya vAdI devasUri ane digaMbara AcArya kumudacaMdra vacce thayelA vAdavivAdanuM nirUpaNa karatA yazazcaMdrakRta samakAlIna saMskRta nATaka' mudritaHmudacandraprakaraNa'mAMthI, (3) prabhAcandrasakRita ' prabhAvakacarita '(I sa0 1278)nA chelA 'hemacaMdrasaricarita'mAMthI, ane (4) zrIpAlanI potAnI upalabdha kRtiomAMthI,

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siddharAja jayasiMha ane kumArapAlano prajJAcakSu rAjakavi zrIpAlaH 73 gujarAta ane rAjasthAnanA itihAsamAM zaurya, rAjanItijJatA ane vepArI kuneha mATe prasiddha prAgrATa (poravADa) jJAtinA eka jaina kuTuMbamAM zrIpAla jamyo hato. gujarAtanA caulukya rAjA bhImadeva pahelAnA maMtrI vimalazAhe Abu upara vi. saM 1088(I. sa. 1032)mAM bAMdhelA prasiddha jaina maMdira vimalavasatinA sabhAmaMDapamAM zrIpAlanI mUrti che. e mUrti nIcenA khaMDita zilAlekhamAMthI jANavA maLe che ke zrIpAlanA pitAnuM nAma lakSmaNa hatuM. zrI jinavijyanuM anumAna samucita che ke zrIpAla ghaNuM karIne vimalazAhano athavA tenA koI kuTuMbIno vaMzaja haze. 2 sAhityika sAdhanomAMnA aneka ullekho uparathI jaNAya che ke zrIpAla aMdha hato. enA aMdhatvanA kAraNa viSe athavA e kyAre aMdha thayo haze e viSe kaMI jANavAmAM AvyuM nathI. teNe vidyAdhyayana kyAM ane kayAre karyuM e paNa ajJAta che. paraMtu zrIpAla eka nipuNa kavi ane kRtaparizrama vyutpanna vidvAna hato e viSe kazI zakI nathI. prabandhomAM ene "kavicakravartina', "kavikuMjara' ane "mahAkavi" tarIke varNavyo che ane mukitakumudacandraprakaraNamAM ene "kavirAja' biruda ApyuM che. jalaNakRta 'sukitamuktAvali' ane zADuMdharakRti "zAdhara paddhatijevA subhASitasaMgraho zrIpAlanI yuktio uddata karatAM zrIpAla kavirAja' tarIke eno nirdeza kare che. prabandhomAM "SabhASAkavicakravartI ' tarIke zrIpAlano ulekha che, je batAve che ke teNe che prAkRta bhASAomAM paNa kavitA karI hovI joIe. aneka samakAlIna kavio potAnI kavitA sudharAvavA mATe zrIpAla pAse AvatA. bRhadgachanA ajitadevasUrinA ziSya hemacandrasUrinA "nAbeyanemikAvya" athavA "dvisaMdhAnakAvyanuM saMzodhana zrIpAle karyuM hatuM. zrIpAla e rAjA siddharAja jayasiMhano nikaTavartI suhada hato. vaDanagara prazastinA chellA zlokamAM zrIpAle potAne zrImadbha2Tjhaghatipanna vadhu: (" jene siddharAje potAnA bhAI tarIke svIkAryo che evo ") kahyo che. 'mudritakumudacandraprakaraNamAM (pR. 39) zrIpAlane zrIsiddhamUvAamitram (" siddharAjano bAlamitra ) kahevAmAM Avyo che. somaprabhasUrikata "kumArapAlapratibodha" ane " sumatinAtha caritra" jevA lagabhaga samakAlIna graMtho noMdhe che ke rAjA siddharAja zrIpAlane "bhAI !' kahIne bolAvato hato. A nirdezane " prabhAvaka carita'nA chelA "hemacandrasUricarita mAMthI anumodana maLe che; emAM siddharAja ane zrIpAlanI nikaTatA vistArathI varNavI che ane thoDAka samaya mATe aNahilavADamAM AvIne rahelA bhAgavata saMpradAyanA AcArya devabodha athavA devabodhinA saMparkamAM teo baMne kevI rIte AvyA e paNa emAM varNavyuM che. e traNa viziSTa vyaktionA saMbaMdha ane spardhAnA "prabhAvaka carita mAM apAyelA vRttAntanA rasaprada sAroddhAra mATe tathA e vRttAntanI aitihAsika samAlocanA mATe vAcakane "kAvyAnazAsananI moha rasikalAla cho. parIkhanI prastAvanAnAM uparyukta pRSTha jevA vinati che. 1 jinavijayajI, "prAcIna jaina lekhasaMgraha', bhAga 2 (bhAvanagara, 1921), naM. ra71. 2 jinavijyajI, draupadI svayaMvara nATaka', prastAvanA, pR0 21-22. 3 "mukitakumudacandraprakaraNamAM bIjI etihAsika vyaktio sAthe zrIpAla paNa eka pAtra tarIke Ave che. emAM devasUrinA rUparasAyananuM netrAMjali vaDe pote pAna karI zakato nathI e potAnA durbhAgyano zrIpAla zoka kare che (aMka 4, kaloka 15); devasUri ene AzvAsana Ape che ke "kavIzvara ! pUrve karelAM asukRtonA paripAkano pratikAra karI zakAto nathI. paraMtu bhagavatI bhAratIe trilokanuM Akalana karavAmAM kuzaLa sAravatacakSunuM vitaraNa karIne tamArA upara kara NA karI che." bhAgavata saMpradAyanA AcArya devabodhe karelI zrIpAlanI nindAno eka loka "prabhAvaka carita'mAM ( siMdhI jaina prAthamAlA, ca 13, pR. 190) TAMkelo che, temAM paNa zrIpAlanA aMdhatvano nirdeza che .. zukra: kavitvamApanna ekAkSivikalo'pi san / cakSuyavihInasya yuktA te kavirAjitA // ja purAtanaprabandhasaMgraha', pR0 43; "kumArapAlacaritasaMgraha', pR0 106,

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74: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava graMtha zrIpAla siddharAja karatAM lAMbuM jIvyo hato ane enA uttarAdhikArI kumArapAlano paNa rAjakavi banyo hato. siddharAjanA avasAna pachI nava varSe vi. saM. 1208(I. sa. 11para)mAM, kumArapAle baMdhAvelA vaDanagaranA killAnI prazasti teNe racI hatI. kumArapAlanI eka zatruMjaya-yAtrAmAM paNa zrIpAla tenI sAthe hato.5 zrIpAlano putra siddhapAla nAme hato. "purAtanaprabandhasaMgraha' ane 'kumArapAlaprabadha"mAM ene kavio ane dAtAomAM zreSTha (vInAM DhAtRri dhurya ) kahyo che. siddhapAlanI koI avikala saLaMga sAhityaracanA prApta thaI nathI, paNa eNe racelA keTalAka loko "prabaMdhakozamAM uddhata thayelA che. siddhapAlanAM keTalAMka saMskRta tema ja prAkRta padyo somaprabhasUrinA kumArapAlapratibodha mAM paNa TAMkelAM che. ahIM e vAtano paNa ullekha karavo joIe ke somaprabhasUrie A prAkRta grantha vi. saM. 1241(I. sa. 1185)mAM pATaNamAM siddhapAle bAMdhela vasati athavA upAzrayamAM rahIne pUrNa karyo hato. prabandho kahe che ke siddhapAla e rAjA kumArapAlano prItipAtra hato. siddhapAlano putra vijayapAla nAme hato. vijayapAla eka vidvAna ane nATakakAra hato. teNe raceluM saMskRta nATaka 'draupadIsvayaMvara " rAjA bhImadeva bIjAnI AjJAthI, pATaNamAM, mUlarAje bAMdhelA tripuraprAsAdamAM bhajavAyuM hatuM. Ama satata traNa peDhI sudhI kavitva paraMparA cAlu rahI hoya evI ghaTanAo sAhityanA itihAsamAM bahu virala che. zrIpAlanI sAhityakRtio zrIpAlanI sAhityakRtionuM have vihaMgAvalokana karIe. jANavAmAM AvelI tenI tamAma kRtione nIce pramANe vaheMcI zakAya : (1) mAtra sAhityika ulekho dvArA jJAta kRtio, (2) khaMti svarUpe upalabdha kRtio, (3) akhaMDa upalabdha kRtio. 1. "prabhAvaka carita' (pR 190) anusAra, zrIpAle "vairocanaparAjya' nAme eka "mahAprabadha" racyo hato. A kati atyAre maLatI nathI, tethI enA sAhityasvarUpa athavA emAM nirUpita viSaya paratve kaMI kahevuM muzkela che. virocananA putra balirAjAne-vairocanane-vAmanarUpadhArI viSNue pAtALamAM cAMpyo e paurANika kathAprasaMganuM emAM koI prakAre nirUpaNa kadAcita hoya. vaDanagara prazastine aMte zrIpAle potAne IniqnadAraH ('jeNe eka divasamAM mahAprabandha racyo che evo ') kahyo che; A rIte ulikhita "mahAprabandha' e uparyukta "varocanaparAya" hoya e asaMbhavita nathI. siddhapuramAM mUlarAje baMdhAvela rUdramahAlayano jINoddhAra siddharAje karAvyo hato, enI prazasti zrIpAle racI hovAno ullekha " prabhAvaka carita mAM che. A prazasti kotarelI zilA rudramahAlayamAM koI mokharAnA sthAne jaDavAmAM AvI haze; parantu keTalIka sadIo thayAM rudramahAlaya khaMDera sthitimAM che ane tenI zrIpAla-racita prazasti paNa nAza pAmI jaNAya che. 2. zrIpAlanI bIjI kAvyakRtinA-rAjA siddharAje aNahilavADa pATaNamAM bAMdhelA sahastraliMga sarovaranI teNe racelI prazastinA thoDAka aMzo ja Aja sudhI sacavAI rahyA che. siddharAjanA mAlavavijayanA smAraka rUpe Arasano eka kIrtistaMbha e sarovarane kinAre Ubho karavAmAM Avyo hato, ane zilAdikAo upara kotaravAmAM AvelI e prazasti kItistaMbha upara mUkavAmAM AvI hatI. 5 e ja, pR. 43; e ja, pR0 106. 6 prabaMdhakoza" (siMdhI jaina granthamAlA, grantha 6), pR0 48. 7 A sarovaranA bhavya avazeSo bhUtapUrva vaDodarA rAjyanA ArkiyaoNlaoNjI khAtAe khodI kADhelA che.

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siddharAja jayasiMha ane kumArapAlane prajJAcakSu rAjakavi zrIpAlaH 75 gujarAtanA itihAsa ane saMskRtinA nAmAMkita vidvAna sva. rAmalAla modIe pATaNanA vIjaLakUvA maholAnA eka nAnA zivamandiranI bhIMtamAM coMTADelo A prazastino eka Tuka khoLI kADhyo hato. ane te pragaTa karyo hato.' A rIte maLelI prazastinI ekamAtra zilAdikAmAM je nava khaMDita paMktio kotarelI maLI che emAM prazastikAvyano eka paNa loka akhaMDa rUpe maLato nathI. A rIte khaMDita rUpe maLatA zlokone aMte 76, 77, 87 ane 90 eTalA zlokAMko vAMcI zakAya che; e uparathI anumAna thAya che ke gujarAtanI sAMskRtika paraMparAmAM amara banela siddhasaranuM mAhAtmya varNavatA e prazastikAvyamAM Azare 100 zloko haze. kadAca 108 loko hoya ema paNa bane. "prabhAvacarita'(pR. 190)mAM A prazastine "durlabhasarorAja nI prazasti kahI che. sahastraliMganuM bAMdhakAma siddharAjanA eka pUrvaja durlabharAje zarU karyuM hatuM, ane tethI te durlabha sarovara tarIke paNa oLakhAtuM hatuM. "prabandhacintAmaNi (I. sa. 1305)nA kartA merUtuMgasUri lakhe che ke sahastraliMga sarovaranI zrIpAlanI prazasti racAI ane padika upara kotarAI eTale tenA zodhana mATe siddharAje sarva darzanonA vidvAnone nimaMtryA hatA. A sandarbhamAM mUla prazastimAMthI nIcenA be zloko merUtuMga TAMke che. uparyukta zlokaTakaDAo ane A be loko 10 eTalA ja aMzo sahastraliMga sarovaranI sudIrtha prazastimAMthI atyAre to upalabdha che- na mAnase mAdyati mAnasaM me pampA na sampAdayati prasAdam / acchodamacchodakamapyasAraM sarovare rAjati siddhabhartuH // kozenApi yutaM dalairupacitaM nocchettumetat kSama svasyApi sphuTakaNTakavyatikaraM puMsvaM ca dhatte nahi / eko'pyeSa karoti kozarahito niSkaNTakaM bhUtalaM matvaivaM kamalA vihAya kamalaM yasyAsimAzizriyat / / 3. zrIpAlanI be kRtio sAdyanta upalabdha che : rAjA kumArapAle saM0 1208(I. sa. 11para)mAM bAMdhelA vaDanagaranA killAnI prazasti ? ane covIsa tIrthaMkaronI stuti karatuM, 29 kalokanuM "caturvizati jinastuti' kAvyara. vaDanagara prazasti, jene "prAcIna lekhamAlAnA saMpAdakoe 'vaDanagaraprAkAprazasti' evuM nAma ApyuM che te 30 lokanuM alaMkArapracura kAvya che, ane saMskRta kavi tarIkenI zrIpAlanI nipuNatAnuM paryApta pramANa te rajU kare che. caulukya yugamAM vaDanagaranuM koI khAsa rAjakIya mahattva nahotuM; kharekhara to e vidvAna brAhmaNonuM nagara hatuM, jemane rAja tema ja prajA haMmezAM mAna ApatAM. " A nagaranA dijajano yajJo 8 sAtamI akhila bhAratIya prAcavidyA pariSadano ahevAla, vaDodarA, 1963, pR. 649-52; vara rAmalAla modIno nibaMdha " e kaeNgamenTa oNpha dhI kIrtirataMbha insakripazana oNpha siddharAja jayasiMha'. A nibaMdhanA gujarAtI anuvAda mATe juo "sva. rAmalAla cunIlAla modI lekhasaMgraha' (pATaNa, 1953), pR0 92-100 mAM siddharAjanA kartarataMbhanA lekhano eka aMza". 9 "prabandhacintAmaNi" (siMdhI granthamAlA, grantha 1), pR0 63-64, 10 A be zlokomAMne na mAnaka e zloka varatupAlanA mitra somezvarakRta "kArtikaumudI'mAM (sarga 1, loka 78). sahastraliMganA varNanaprasaMgamAM maLe che. somezvare zrIpAlanI pratimAMthI te lIdho jaNAya che, epirAphikyA inDikA', granya 1, 50 293 ane AgaLanAM pRSThomAM A prazarita chapAI che, vaLI prAcIna lekhamAlA,' bhAga 1, muMbaI, 1892; girajAzaMkara AcArya, gujarAtanA aitihAsika lekho,' bhAga 2, pR. 38-47, emAM paNa te mudita che. 12 mukita: 'jaina stotrasandoha' (saMpAdaka : muni caturavijaya), bhAga 1, pR0 121-123. T 2 lIdho * chapAI che 38-47,

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76 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI vaDe devonuM paNa paritrANa kare che tathA zAnika ane pauSTika karmo vaDe bhUpa ane rASTranI paNa rakSA kare che. chatAM emanA tIvra tapane bAdhA na thAya e hetuthI A viprapuranA rakSaNa mATe rAjAe bhaktipUrvaka vaprakoTa karAvyo" (kloka 23), ema prazastimAM kahyuM che. mUlarAja pahelAthI mAMDI kumArapAla sudhInA caulukya rAjAono saMkSipta vRttAnta prazasti Ape che; joke bIjAM sAdhanomAMthI maLatI na hoya evI koI vizeSa aitihAsika mAhitI emAMthI maLatI nathI. AnupUrvanI dRSTie joIe to, vaDanagara prazasti evI sarvaprathama aitihAsika kRti che, jemAM caulukyo pahelAM pATaNa upara rAjaya karanAra cApotkaTa athavA cAvaDA vaMzano ullekha Ave che. saM. 802 (I. sa. 746)mAM vanarAja cAvaDAe pATaNa vasAvyA pachI cAra zatAbdI karatAM paNa vadhu samaya bAda gujarAtanAM etihAsika sAdhanomAM cAvaDAono A pahelo ullekha maLe e Azcaryajanaka che. e vastu ema paNa sUcave che ke cAvaDA vaMza e pramANamAM gauNa mahatvano rAjavaMza hato; joke e ja vaMzanI rAjadhAnI pATaNa kALAntare pazcima bhAratanI sauthI AbAda nagarI banI hatI. "caturvizati jina stuti" e suMdara alaMkArothI khacita evuM, zrIpAle raceluM stotra che. zrIpAlanI sUkitao upara darzAvyuM tema, ghamakAvavarsina tarIke zrIpAlano ullekha maLe che. paNa saMskRta sivAyanI bhASAmAM racAyelI tenI koI kRti hajI sudhI jANavAmAM AvI nathI. eka darabArI kavi tarIke te zIdhra kavitA karI zakato haze, ane amuka prasaMgoe prAkRta ane apabhraMzamAM paNa teNe zIdhra kAvyo racyAM haze ema ka9pI zakAya. aneka kavionI-jemAMnA keTalAka to ajJAtanAmA che- saMskRta uparAMta prAkata ane apabhraMza zIdhrasUtio prabandhomAM sacavAyelI che, e hakIkatathI A anumAnane anumodana maLe che. mAlavaviya karIne siddharAja pATaNa pAcho Avyo e prasaMge tene AvakAra ApatA, zrIpAlanA e saMskRta zloko rAjazekharasUrinA "prabazvakoza mAM uddata thayelA che. 3 zrIpAlano eka saMskRta zloka prabhAvaka carita mAM paNa TAMkelo che.14 yazazcandrakRta samakAlIna saMskRta nATaka "mukitakumudacandraprakaraNa"mAM zrIpAla eka agatyanA pAtra tarIke Ave che. emAM lekhake zrIpAlanA mukhamAM aneka loko mUkyA che. 15 "dita mudacandraprakaraNa" eka etihAsika nATaka hoI A loko kharekhara zrIpAlanI racanA haze ke kartA yazazcandra pote racIne zrIpAlanA mukhamAM mUkayA haze e kahevuM muzkela che. alabatta, A loko pachI thoDAka paNa zrIpAlanI racanA hoya e saMbhava nakArI zakAya evo nathI. saMskRtanA be vikhyAta subhASitasaMgraha-jalaNanI sUktimuktAvali' (I. sa. 1247-1260 AsapAsa) ane zAdharanI "zAdhara paddhati" (I. sa. 136 3 AsapAsa)-mAM zrIpAlanAM subhASito levAmAM AvyA che, je batAve che ke enI kavi tarIkenI kIrti thoDA samayamAM ja mahArASTra ane sapAdalakata sudhI (ke jyAM anukrame A be subhASita saMgrahonI saMkalanA thaI hatI) vistarI hatI. A baMne subhASitasaMgrahomAM levAyelA zrIpAlanA loko RtuvarNanane lagatA che, ane te uparathI anumAna karavAnuM mana thAya che ke kAlidAsanA "RtusaMhAra' jevuM RtuvarNananuM koI kAvya kadAca teNe racyuM hoya. 13 prabandhakoza' (siMdhI jaina granthamAlA, graMtha 6), pR. 93. zloko mATe juo A nibaMdhanuM pariziSTa 14 "prabhAvaka carita', pR. 189-90. zloka mATe juo pariziSTa. 15 A loko mATe juo "mudritakumudacandraprakaraNa', aMka 4, loka 1-4, 13-15, 16, 18, 19, aMka 5, zloka 1, 2, 9.

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siddharAja jayasiMha ane kumArapAlane prajJAcakSu rAjakavi zrIpAlaH 77 subhASita saMgraho ane prabandhomAM maLatI zrIpAlanI suktio ekatra karIne eka pariziSTarUpe ahIM sApIche. pariziSTa subhASita saMgraho ane prabomAM uddhata thayelI zrIpAlanI sUktio* (sUtibhutApani mAyA) api taruvanAnyUSmAyante tapatyapi yAminI dahati sarasIvAto'pyeSa jvalanti jalAnyapi / iti samadhikaM grISme bhISme na puNyavatAM bhayaM malayajarasaidigdhaM labdhvA vadhUstanamaNDalam / / shriipaalkviraajsy| digbhastrAmukhamucyamAnapavanapreGkholanAvartitajvAlAjAla jaTAlavaidyutazikhipradyovamAnAtmabhiH / nIrandhra rasagarmitairakaluSavyomArkacandrAnmuhaH kAlo'yaM dhamatIva toyadamahAmUSAsahaurdivi / / zrIpAlakavirAjasya / neyaM cUtalatA virAjati dhanurlekhA sthiteyaM puro nAsau guJjati bhRGgapaddha tiriyaM maurvI TaNatkAriNI / nete nUtanapallavAH smarabhaTasyAmI sphuTaM patriNaH zoNAstatkSaNabhinnapAnthahRdayaprasyandibhizoNitaiH / / zrIpAlakavirAjasya / pacyante sthalacAriNaH kSitirajasyaMgArabhUyaMgate kvathyante jalajantavaH pratinadaM tApolbaNairvAribhiH / maya'nte zi(khaca)rAH kharAtapazikhApujhe tademirdinaimAMsA(spA)kaH (?) kriyate dine'tha niyamAdvaivasvatAya dhruvam // zrIpAlakavirAjasya / badhirita caturAzA priiti(t)haariitnaadaibelbkulpusspairndhpusspndhyaa'sau| nidhuvana vidhimohAnmUkakokA vanazrIH kathamiva pathikAnAM naiva (vaiklyhetuH|| zrIpAlakavirAjasya / mudritakumudacandraprakaraNamAM zrIpAlanA mukhamAM mukAyelA zloko asaMdigdhapaNe tenA gaNavAnuM nizcita pramANe na hoI te ahIM lIdhA nathI, "sahasTarliMga sarovaraprazasti mAMthI "prabandhacintAmaNimAM TAMkelA be zlokonuM avataraNa A lekhamAM agAu apAI gayuM che.

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78: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI stotraM caitraguNodayasya virahiprANaprayANAnakaSTaMkAraH smarakArmukasya sudRzAM zRGgAradIkSAguruH / DolA kelikalAsumaGgalapadaM bandI banAntazriyAM nAdo'yaM kalakaNThakaNThakuharaprekholitaH zrUyate // zrIpAlakavirAjasya / ( 5256ti 'mAthA) mando'yaM malayAnilaH kisalayaM cUtadramANAM navaM mAdyatkokilakUjitaM vicakilAmodaH purANaM madhu / bANAnityupadIkaroti surabhiH paJcaiva paJceSave yUnAmindriyapaJcakasya yugapatsaMmohasampAditaH // zrIpAlakavirAjasya / ('pramoza'bhAMthA) he vizvatrayasUtradhAra bhagavan ko'yaM pramAdastava nyasyaikatra niveza yasya paratastAnyeva vastUni yat pANiH pazya sa eSa yaH kila balervAka saiva pArthasya yA . cAritraM ca tadatra yada raghupatezcaulukyacandre nRpe|| mAnaM muJca sarasvati tripathage saubhAgyabhaGgI tyaja re kAlindi tavAphalA kuTilatA reve ravastyajyatAm / zrIsiddhezakRpANapATitaripuskandhocchalacchoNitasrotojAtanadInavInavanitArakto'mbudhirvartate / / ('mAnyarita'mAthI) iha nivasati meruH zekharo bhUdharANAmiha vinihitabhArAH sAgarAH sapta cAnye / idamahipatidambhastambhasaMrambhadhIre dharaNitalamihaiva sthAnamasmadvidhAnAm / /

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vaDanagarano. nAgara jaina saMgha 50 amRtalAla mohanalAla bhojaka vanagaramAM nAgaraviNuMkono jaina saMdha hato ema jenA AdhAre jANI zakAya che te vaDanagarano nAgara jaina saMgha taraphathI vikramanA 18mA zatakamAM nArAyaNapura(naranA rAjasthAna)sthita tapAgacchIya AcArya zrIvijayaprabhasarijha pratye lakhAyelo eka aprasiddha vijJaprilekha ahIM mukhyatayA ApavAmAM Avyo che. sAthe sAthe eka citra kalpasUtranI aprasiddha prApti paNa A lekhamAM ApI che. A kalpasUtra paNa vaDanagaranA nAgarazreSThIe lakhAveluM che. prastutane pUraka thAya tevI keTalIka sAmagrI mArA jovAmAM AvI. tethI vaDanagara nAgaragaccha nAgaravaNikajJAti vagere mATe prAsaMgika jaNAvIne uparyukta vijJaprilekha tathA prazasti ApavI ucita mAnI che. 1. nAgaranAti Ane tenA saMpradAya vaSe prAcIna-arvAcIna jaina jaina sAhityanuM cIvaTapUrvaka anveSaNa karIne tayA mAre vahIvaMcAnAM prAcIna samayanAM je oLiyAM maLe che te ane tevA ja prakAranI anya sAmagrInA abhyAsane aMte ja pUro prakAza pADI zakAya. A prakAranA anveSaNamAM nAgarajJAtinI utpatti, teno vyavasAya, nivAsasthaLo, saMpradAyo, saMpadAcaparivatano ane tenAM kAraNo vagere bAbatone lagatI ghaNI sAmagrI maLavAno saMbhava rahe. ane te sAmagrI eka lekharUpe rajU karI zakAya ke eka graMtharUpe? tenuM spaSTIkaraNa saMpUrNa anveSaNanA aMte ja thaI zake, AvuM anveSaN lAMbo samaya mArge, je mArA mATe mukta che, tethI ahIM abhipreta vastune mukhya rAkhI abhyAsiyargane kaMIka upayogI thAya tevI AnuSaMgika hakIkato parimita mAtrAmAM ja ApI zakayo chuM. arthAt ahIM iirdaSTa hakIkatone praka hoya tevI vizeSa sAmI maLavAno saMpUrNa avakAza hoyA hatAM samayAlASane lIdhe meM maryAdA nizcita karI che. 2 ajamera-phulerA relamArgamAM ' narainA ' relvesTezana che. 3 A sAmagrI ekatrita karavA mATe meM je saMdarbhagraMtho joyA teno ullekha yathAsthAne Avaze ja, te sivAyanA khInna saMdarbhagraMtho che te meM joyA nathI, tenAM mukhya be kAraNo che : eka to samaya vizeSa thAya, ane bIjuM, mArA saMkSipta avokanathI noMdhelI hakIkato A lekhanA nirdezcana Toka hoka pramANamAM purA thaze te che. aa kArI bIM noMdhelI hakIkato sivAyanI prasiddha ke aprasiddha hakIkato apAI na hoya te badala tanhone daragujara karavA vinaMti karuM chuM.

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80 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha vaDanagara : bhAratanAM prAcInatama nagaronI gaNanAmAM AvatuM vaDanagara uttara gujarAtamAM AveluM che. mahesANA jaMkazanathI tAraMgAhIla jatA relamArgamAM vaDanagara relave sTezana che. AnaMdapura, vRddhanagara, camatkArapura, madanapura vagere tenAM prAcIna nAmo maLe. prAcIna samayamAM vaDanagaranuM eka nAma arkasthalI paNa hatuM, A nAma apajJAta che, ghaNuM sUryamaMdiro hovAne kAraNe kadAca te arkasthalInA nAme oLakhAtuM haze ! aneka prAcIna graMthomAM AnaMdapuranA ullekho pracura mAtrAmAM upalabdha thAya che. tethI kahI zakAya ke te samayamAM AnaMdapura tenI AjubAjunA vizALa pradezamAM potAnuM AgavuM vaiziSTraya dharAvatuM mahAnagara hatuM. TUMkamAM jaNAvavAnuM eTaluM ja ke vartamAna samayamAM eka moTA gAma jevuM lAgatuM AjanuM vaDanagara prAcIna kALamAM zrI-sarasvatInA dhAma samuM mahAnagara hatuM. nAgaragaccha jema keTalAka gacchonAM nAma temano je sthaLamAM ubhava thayo hoya tenI sAthe joDAyelAM che tema keTalIka vAra nUtanagacchanA AcArya ane temanI sAthenA zramaNavarganI pUrvAvasthAnAM je je kuLo hoya te kuLonI sAthe paNa gacchanuM nAma joDavAmAM AvatuM. dA0 ta7, pallIvAlagaccha, khayatAga, nAgaragaccha vagere. "nAgaragacchanA AdyAcArya nAgaravezIya hovA joIe ane prAraMbhamAM temanA ziSyavargamAM tema ja upAsaka vargamAM anyavaMzIya ziSya-upAsakavarganI apekSAe nAgaravaMzIya vyaktionuM prAcarya vizeSa haze" A anumAna asaMgata nahIM lekhAya. nAgaragacchanA AdhAcArya nAgarabrAhmaNakuLanA ke nAgaravaNikakuLanA hatA ? A saMbaMdhamAM vizeSa hakIkato na maLe tyAM sudhI nizcayAtmaka kahI zakAya tema 4 "suNAme paNa - viDhapura mArjI, madvAca gADhapuraM !sanmatijJAnapITha-AgarA-dvArA prakAzita "bhA- samanvita nizItharAtra' vibhAga 3, pR0 192. A ullekha ane A pAdaTIpamAM " saMkhaDI 'no ulekha DaoNzrI bhogIlAla ja0 sAMDesarAe temanA jaina Agama sAhityamAM gujarAta' nAmaka graMthamAM noMdhyA che. che A ullekho catratatra prasiddha thayelA che. temAMno eka alpajJAta ullekha ahIM noMdhyuM che. vartamAna samayamAM prativarSa kArtika zukala pUrNimAne divase sarasvatIjhananA mahimAne lakSIne siddhapura(mAtRgayA)mAM je lAkha uparAMta mAnavamedanIno meLo bharAya che tenI prAcInatA sUcavatA ulalekhamAM paNa AnaMdapuranuM prAdhAnya jaNAvyuM che. A ulalekhano saMketa "bRhakalpasUtranA bhAgya'mAM che ane tenuM spaSTIkaraNa bRhatakapasUtranI cUrNi(aprakAzita)mAM ane tadanusAra TIkAmAM paNa che. A cUrNapAThanuM avataraNa mArA guru vidvarya muniyugala guru-ziSya zrI caturavijayajIpuNyavijayajI dvArA saMpAdita "saniryukti-bhAga-TIkopeta bRhakapatra' (vibhAga 3)nA pR0 883nI kamI TippaNImAM ApyuM che; uparAMta, tenA 13mA pariziSTamAM (vibhAga 6, pAraziSTa pR0 188) paNa noMdhyuM che. prastuta avataraNa A pramANe che- " * * pAvAgavAmi || 30 || *****"pAyavAdo sarasaNa, tatya sANaMdrapura nadhavimave vaghaMti sakhA" arthAta-AnaMdapuranA loko potAnI Arthika muMjAzane anurUpa rIte zaradaRtumAM je sthAnamAM sarasvatInI pUrvapravAha che tyAM naya che. jyAM janasamUha meLArUpe ekatrita thaIne moTI ujANI jevA bhojana samAraMbho karato hoya tene jaina paribhASAmAM laMvarI kahe che. nirainyone saMkhaDImAM banelA AhAranA grahaNano niSedha karatAM, AvA samAraMbho jyAM jyAM thatA te te sthAnonI viratRta noMdha ApI che temAM A ullekha Ave che. kahevAnI maDhaba eTalI ja ke tyAM janasamUha jato eTaluM ja nahIM paNa vizeSamAM tyAM jamaNavAra vagere karIne eka prakArano utsava ujavAto hato. A avataraNamAM AvatA "sararavatIno pUrvapravAha" ane zaradaRtu' zabdonA AdhAre ukta janasamUhane ekatrita thavAnuM sthaLa ane samaya nizcita karI zakAya che. ane sAthe sAthe siddhapurano nAmolekha na hovAthI e paNa jANI zakAya che ke siddhapuranI sthApanA pahelAM paNa prastuta meLo tyAM thato hato. paratuta ulekhano saMketa bhAgamAM che ane bhAgyakAra zrI saMghadAsagaNi mAmaNano samaya prAyaH vikramano pAMcamo zataka che. AthI A meLAnI praNAlikA vikramanA pAMcamA zataka pahelAnI che. Aje UjavAtA loko savo keTalA prAcIna hoya che, te A uparathI samajI zakAya che. 6 dAta. vAMcaDagaca, vaDagaccha, hArIjaga7, thArApadrIya ga7, harSapurIya ga7, nAgorI gayache vagere.

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OOOO vikramanA 18mA saikAmAM vaDanagaranA nAgara jaina saMghe nArAyaNA(vartamAna narainA, rAjasthAna)mAM birAjatA AcArya zrIvijayaprabhasUrijI upara lakhela vijJaptipatranA citravibhAgano aMtima bhAga (juo pR. 85) Cre

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azayAgAsahAsAdamasakA samasabAsavanayasavAyarA jAjAjAnavadAsakSiAbamiAgArizIjyavasamAsA yaMzAtA eyaeka hAyavAdikAziniANasI vihAravimalayATamaTama dizvarAvamayarajyAvalaya siraanaagrnrsiritaaraa||. sADiNAkSammavAsiyasazArA sA balAdavIsajA viNayavidhavA kAjhyaNasajAsatAdavAhamarA cApaDasIkaDamArajAla nilmaakruyaasikaalaaniyvaaii| mayalara gAnistAmizvinimuMdarasIjharokyavAcakanAjadimAtA apayahadaNakAmakramAvAkAjita zizidanagaDyarAdIpikA lagAuyazisabhApamalAlasiMgADipAhAmAsAnavasyAmAranA nayAzidavasirIsatAnAta smagharaNAdalAsanagarAnakuMgyA lAsvAsitazyAvaI para sasatatAlIsApha samisaidasamIsirilabiga sAyarasAsarumalinAvimyA emAgAsapanAcArya azvinAmalirivanamA mAkvAthIpata nivAsamA khAtrIzakyaDAgAkalyANamanagara vAcanamAyA nepAyIjIko nAmamA nuhAvadanAmabAga vaDanagaranA nAgaragRhastha AMbAe vi. saM. 1547mAM lakhAvela sacitra upasUtranA prazastivALA tima(1.30 bhA)panI manne mAnu ( mo pR. 61.)

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vaDanagarano nAgara jaina saMgha H 81 nathI, chatAM sthavirabhagavAna zrI sthUlabhadrajI tathA zramaNabhagavAna mahAvIranI batrIsamI pATe vikramanA AThamA zatakamAM thayelA AcAryazrI yazodevasUri nAgarabrAhmaNa hatA tethI nAgaragacchanA AghAcArya pUrvAvasthAmAM kadAca brAhmaNakuLanA hoya evuM anumAna karavAnI sahaja lAlaca thAya che. nAgaragachano prAraMbha kayAre thayo? ane tenA AdhAcArya koNa hatA? te mArI jANamAM nathI, chatAM vikrama saMvata 1118nA pratimAlekhamAM nAgaragacchanuM nAma maLe che tethI teno prAraMbha vikramanA bAramA zataka pahelAMno nizcita thAya che. nAgaragacchanA ulekhavALA vikrama saMvata 12939, 138711, 139412, tathA 14571 3 nA pratimAlekho paNa maLe che. munirAja zrI darzanavijayajIsaMkalita "jaina paraMparAno itihAsa bhA. 2'nA 712mA pRSThamAM "nAgaragachanuM bIjuM nAma vaDanagaragaccha hatuM. metrANA e medhyakALamAM nagaragacchanuM jainatIrtha hatuM." ema jaNAveluM che. sAthe sAthe nAgaraganA ullekhavALA vi. saM. 1309nA zilAlekhano nirdeza paNa te ja pUchamAM karyo che. TUMkamAM eTaluM ja jaNAvavAnuM ke zvetAMbara jaina paraMparAnA aneka prAcIna gacchonI gaNanAmAM nAgaragaccha paNa hato. jainadharmAnuyAyI nAgaravaMza-nAgarajJAti prAcIna zilAlekho tathA pratimAlekho jotAM jaNAya che ke prAcIna samayamAM jainadharmAnuyAyI nAgaravaNikavaMza-jJAtino moTo varga zvetAMbara ane digaMbara paraMparAmAM hato. zvetAMbara paraMparAnA nAgaragacchanA prAraMbhamAM nAgaravaMzIya upAsako nAgaragaccha tarapha DhaLelA hoya te sahaja vastu che. Ama chatAM gaccha ane jJAtinA mamatvamAM saMDovAyelA besamaja dRSTirAgI vargathI atirikta koI paNa gacchane samajadAra upAsaka vargano pratyeka gacchanA munio, sahadharmIo ane dharmasthAno pratye abhinna bhaktibhAva hoya ja te samajI levuM joIe. vikramanA teramA zatakathI soLamA zataka sudhInA gALAmAM jema jema nAgaragachIya munivarganI saMkhyAno uttarottara hAsa thato Avyo tema tema nAgara upAsako judA judA gacchonA AcAryothI prabhAvita thaIne te te ga7ne anusaryA haze. meM mArA atiparimita anveSaNamAM je pratimAlekho joyA temAM nAgara jJAtinA upAsakoe karAvelI jinapratimAonI judA judA gacchanA 14 AcAryoe pratiSThA karAvyAnA ullekho maLyA che. TUMkamAM pAchaLanA samayamAM nAgara upAsako judA judA gomAM vaheMcAI gayA haze. 7 hIrasaubhAgyakAvyanA cothA sarganA 31mA padyanI vRttimAM zrI sthUlabhadrajIne nAgarabrAhmaNa jaNAvyA che. A uparAMta juo zrI mohanalAla dalIcaMda dezAI likhita " jaina sAhityano saMkSipta itihAsa", pR0 37. 8 ajani rajanijAni garabrAhmaNAnAM vipulakulapayodhau zrIyazodevasUriH / - pravara caraNacArI bhAratIkaNThaniSkAbharaNavirudadhArI zAsanodyotakArI // (zrIyazovijaya granthamAlAprakAzita zrI munisuMdarasUricita gurnAvalI, padya 43) 9 juo munirAjazrI jayantavijayajasaMpAdita "arbudAcalapradakSiNAnalekhasaMtoha (AbU bhAva 5) lekhAMka-397. 10 juo upAdhyAyazrI vinayasAgarasaMpAdita "pratiSThA lekhasaMgraha" lekhAMka-57. jao AcAryazrI buddhisAgarasUrisaMpAdita " jenadhAtupratimAlekhasaMgraha bhATa 1" lekhAMka-1237, 12 juo AcAryazrIbuddhisAgarasUrisaMpAdita "jainadhAtupratimAlekhasaMgraha bhA0 2" lekhAMka-13. ahIM nAgarajJAti zabda paNa maLe che. juo zrI agaracaMda nAhaTA-zI bhaMvaralAlajI nAhaTA-saMpAdita "bIkAnera jainalekhasaMgraha" lekhAMka-579. 14 ta5Araha : jo zrImada buddhisAgarasUrisaMpAdita " jainadhAtu pratimAlekhasaMgraha bhA. 1' lekhAMka 640 (saMvata 1560), ane lekhAMka 1439 (saM. 1572). tathA munirAja zrI vizAlavijayajasaMpAdita rAdhanapurapratimAlekhasaMdoha' lekhAMka 324 (saM. 1564). aMcalagaccha juo zrImad buddhisAgarasUrisaMpAdita jainadhAtupratimAlekhasaMgraha bhA. 1" lekhAMka 306 (saM. 1509) tathA zrI agaracaMdajI nAhaTA-zrI bhaMvaralAlajI nAhaTAsaMpAdita bIkAnera jaina lekhasaMgraha lekhAMka 2343 (saM. 1531). su0 gra0 6

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82 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha pRthak pRthak pratimAo karAvyA uparAMta samRddha nAgarazreSThIoe uttuMga jinamaMdiro karAvyAnA ullekho nIce ApuM chuM : vaDanagaranA vatanI nAgarajJAtinI laghuzAkhAnA bhadrasiANAgotramAM thayelA gAMdhI depAlanA prapautra bAhu zreSThI dravyopArjana karavA mATe vaDanagara choDIne khaMbhAta AvelA ane atidhanADhya thayelA. temaNe vi. sa0 164mAM kAvItIrthamAM yugAdinjinano sarvajit nAmano jinaprAsAda (bAvanajinAlaya maMdira) anAvyo hato ane tenI pratiSThA tapAgacchIya AcArya zrI vijayasenasUrijIe karAvI hatI. 15 tyAra pachI pAMca ja varSanA aMtaramAM khATu zreSThInA putra kuMvarajI zreSThIe kAvImAM ja zrI dharmanAthajI bhagavAnano ratnatilaka nAmano jinaprAsAda (bAvanajinAlaya maMdira) baMdhAvyo hato.16 A e mahAprAsAdo Aje paNa mojUda che ane sAsu-vahunAM maMdiro'nA nAme oLakhAya che. dhAMdhA nAmanA nAgarazreSThIe lakhAvelA kapasUtranI prazastimAM17 dhAMdhAnA pitA AnaMdazreSThIe pillAhikA (pIlavAI--gujarAta) gAmamAM jainamaMdirano jINuMMddhAra karAvyAno ullekha che. digaMbaraparaMparAnuyAyI nAgara vaNiko paNa hatA tenAM be udAharaNa ahIM jaNAvuM chuM.-1. vi saM0 1166mAM mAthurAnvaya chatrasenagurunA upAsaka bhUSaNa nAmanA nAgarazreSThIe ucchvaNukanagaramAM jinamaMdira khUMdhAvyAno zilAlekha maLe che.18 tathA 2. vi. saM0 1628mAM lasaMghIya AcArya zrIsumatikIrtigurunA upadezathI nAgarajJAtIya panAnAmanA zreSThIe zrIpArzvanAtha bhagavAnanI dhAtupratimA karAvyAno ullekha maLe che.19 digaMbarasAhitya tathA saMdarbhagraMthonuM anveSaNa karavAthI edviSayaka vizeSa ullekho maLI zake ja. yoganiSTha AcAryazrI buddhisAgarasUrisaMpAdita (vi. saM. 1973mAM prakAzita) jainadhAtupratimAlekhasaMgraha"nA pahelA bhAganI prastAvanAnA 12mA pRSThamAM jaNAvyuM che ke "digaMbaro tathA zvetAMbaromAM madhyaprAMta, dakSiNa vageremAM keTalAka nAgara jainadharmI che." AthI TUMkamAM ema kahI zakAya ke, digaMbara ane zvetAMbara paraMparAmAM prAcIna samayathI AraMbhI vikramanA vIsamA zataka sudhI nAgara kuLo hatAM. ukta prastAvanAmAM nAgarone lagatI anya hakIkatono paNa nirdeza che. vi. saM. 1524mAM zvetAMbaraparaMparAmAM kaThuAmatigacchano udbhava thayo. A gacchamAM sAdhuveSano niSedha che. dharmaguruo gRhasthaveSe ja rahetA ane temane temanA nAmanI sAthe ' zAhajI ' kahIne saMbodhavAmAM A uparAMta vidhipakSa(aMcala)gacchIya mahoTI paTTAyalI bhASAMtara 'mAM nAgara upAsakoe karAvelI ane zrI kIrtisUri-jayakezaRsUri Adi AcAryo dvArA pratiSThita aneka dhAtupratimAono nirdeza karelo che, juo pR0 231, 237-38. maladhAragaccha : juo munirAjazrI vizAla vi. saMpAdita 'rAdhanapurapratimAlekhasaMdoha' lekhAMka 227 (saM0 1520). kharataragaccha : juo zrImad buddhisAgarasUrisaMpAdita ' dhAtupratimAlekhasaMgraha bhA0 1' lekhAMka 1245 (saM. 1507). A lekhamAM kharataragacchanuM nAma nathI paNa zrI jinaratnasUrinuM nAma che. 15 juo AtmAnaMda jaina sabhA, bhAvanagara-prakAzita, munizrI jinavijayajIsaMpAdita " jainalekhasaMgraha bhA, ", lekhAMka 451-4para. 16 juo uparanuM putaka lekhAMka 4pa3. 17 juo padmazrI munizrI jinavijayajIsaMpAdita, siMdhIjainagranthamAlAprakAzita " jainapuratakaprazastisaMgraha', pR. 93. prastuta prazastisaMgrahamAM mAtra tADapatrIya graMthonI prazastio ApI che tethI sUcita kalpasUtranI prazastimAM samaya nathI lakhyo chatAM vikramanA paMdaramA zataka pachIno samaya to na ja kahI zakAya, '' 18 juo zrI mANikayacaMdra digaMbara jaina granthamAlA dvArA prakAzita " jainazilAlekhasaMgraha bhA, 3' lekhAMka-305 2, 19 juo upAdhyAyI vinayasAgarasaMpAdita " pratiSThAlekhasaMgraha '" lekhAMka 1026.

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vaDanagarano nAgara jaina saMgha H 83 AvatA. prastuta kahuAmatigacchanA Adya pravartaka kaDuo zAhanaDolAI 2 - nADolAI (nADalAI-rAjasthAna) gAmanA vatanI ane nAgara jJAtinI vRddhAzAkhAmAM thaelA kAnhajInA putra hatA. tAtparya eTaluM ja ke jainadharmAnayAyI nAgara vaNikomAM potAno svataMtra mata calAvI zake tevI vagavALI vyakti paNa thayelI che. A kaA zAha vaDanagaranivAsI hatA tevuM vidhAna paNa maLe che.ra ? vi. saM. 1797mAM racAyelA zrI jJAnasAgarajIkRta "guNavemarAsaranI prazastimAM aMcalagacchIya zrI merUtuMgasUrie nAgara vANiyAne jena banAvyAno ullekha maLe che ? tethI zrI merUtuMgarie amuka nAgara vaNikone jainadharmanuyAyI banAvyA haze eTaluM ja samajavuM joIe. zrI merUtuMgasUrinA pahelAM vikramanA bAramAthI paMdaramA zatakanA ullekhono prastuta lekhamAM meM sthaLanirdeza karyo che emAM nAgaragaccha, nAgaravaMza, nAgarajJAti, nAgaravaNika vagere zabdo maLe che te uparathI jANI zakAze ke zrI merUtuMgasUrinA pahelAM paNa jainadharmAnuyAyI nAgara vaNiko hatA. mArA saMkSipta avalokanamAM prApta thayela sAmagrImAM jainadharmAnuyAyI nAgarI saMbaMdhI vividha nivAsasthAna, zAkhAo, gotro ane aTakonI mAhitI nIce mujaba che : nivAsasthAno H soDhalAI 3 (suMThAI-vaDanagara pAse), pethApura, kukaravADA, vaDanagara , khaMbhAtara7, ane pillAhikAra 8 (pIlavAI. A cha gAma-nagaro gujarAtamAM ja AvelAM che tethI gujarAtamAM jainadharmAnuyAyI nAgaro ThIka ThIka pramANamAM haze tema jANI zakAya che. A uparAMta uchUNakara 9 nagara te DuMgarapura pAse arthaNA che tenuM prAcIna nAma che. A sthaLane gujarAta-rAjasthAnanI sImA uparanuM kahI zakAya. tathA DolAI(nADalAI) rAjasthAnamAM AveluM che. zAkhAo nAdInAgarazAkhA, vRddhazAkhAra, ane laghuzAkhA . gotro : bhadrasiANuM gotra, kAThiyAvI gotra, ane rA(8) 6 gotra. 20 juo padmazrI munizrI jinavijayajasaMpAdita, siMdhInagranthamAlA dvArA prakAzita "vividhagacchapAvalisaMgraha'nA pR0 121thI zarU thatI "kahuAmatagapaTTAvali'no prAraMbha tathA pR0 156 thI zarU thatI "kaDuAmatigarachalaghupaTTAvali'no prAraMbha. juo uparanuM pustaka, pR0 219. ahIM kahuAmatigacchano prAraMbha vi. saM. 1562 mAM lakhyo che te barAbara nathI lAgato; saMbhava che ke kadAca saM. 1526 no aMkavipasa thayA hoya. 22 juo zrI mohanalAla dalIcaMda dezAI saMpAdita jena gurjara kavio bhA0 2' pR. 178. 23 juo zrImad buddhisAgarasUrisaMpAdita " jenadhAtumatimAlekhasaMgraha bhA. 1' lekhAMka 306 (saM. 1509). 24 juo uparanuM pustaka lekhAMka 640 (saM. 1560). 25 juo munirAja zrI vizAlavijayajasaMpAdita "rAdhanapurapratimAlekhasaMdoha" lekhAMka ka24 (saM. 1564), 26-27 juo muni jinavijayajasaMpAdita " prAcIna jenalekhasaMgraha bhAva 2 lekhAMka 451 (saM. 1649). 28 juo padmazrI munizrI jinavijayajI saMpAdita " jenaputakaprazatisaMgraha ' pU0 93 (vikramanA 15mA zatakathI pachI nahiM). 29 juo zrImANakyacaMdra digaMbaranagraMthamAlAprakAzita " jenalekhasaMgraha bhAva 3 lekhAMka 305 2 (saM116 6). 30 juo padmazrI munizrI jinavijayajIsaMpAdita "vividhagachapAvelI saMgraha' pR0 121 tathA pR0 156. juo munizrI darzanavijayajIsaMkalita "jainaparaMparAno itihAsa bhAva 2" pR0 722. 32 kahuAmati pravartaka kahuA zAha A zAkhAnA hatA (saM. 152 4). 33-34 juo munizrI jinavijayajasaMpAdita "prAcIna jainalekhasaMgraha bhATa 2' lekhAMka 451 (saM. 1649). 35 juo zrImada buddhisAgarasUrisaMpAdita " jainadhAtupratimAlekhasaMgraha bhATa 1" lekhAMka 251 (rAM0 1422). 36 juo munirAja zrI vizAlavijayajasaMpAdita "rAdhanapurapratimAlekhasaMdoha' lekhAMka 22 7 (saM. 1520).

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84 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha 10 aTako 7-60 28=vyavahArI, govIka9 (?) ane moTI4 = goThI, yo041 = dosI, zre042 zreNI, sA. 43 = sAdhu, sAdhukAra--sAhukAra, sa~44 = - saMghapati-saMghavI, rAjapa = zAha, 4046 = ThAkura-kakura, sA47 = zAha ane gAMdhI48 = gAMdhI. labhya vaiyaktika udAharaNothI atirikta vizeSa sAmagrI na maLe tyAM sudhI nAgara brAhmaNo samUhape jainadharmAnuyAyI haze ke kema ? te na kahI zakAya paNa aidviSayaka mArI apasvalpa gaveSaNAne pariNAme je ullekho meM ahIM noMdhyA che tenA AdhAre niHsaMdigdhapaNe kahI zakAya ke prAcIna samayamAM aneka gAma-nagaromAM nAgaraviNuko samUhape jainadharmAnuyAyI haze. ahIM prastuta che te vikramanA 18 mA zatakanA pUrvArdhamAM lakhAyelA viptilekhanA AdhAre spaSTa thAya che ke te samaye vaDanagaramAM vividha kuTuMbothI saMgati nAgara vaNikono jainasaMgha hato ane te tapAgacchAnuyAyI hato. ATaluM prAsaMgika jaNAvIne sUcita vijJaptilekhano paricaya ApuM chuM. prastuta vijJaptilekha ' zrI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira-amadAvAda 'mAM rahelA aneka prAcIna hastalikhita granthasaMgraho paikI ' zrI lA0 60 vidyAmaMdira ' taraphathI kharIdAI ne ekatrita thaI rahelA * zrI lA0 60 granthasaMgraha 'mAM surakSita che. teno kramAMka 4562 che. A vijJaptilekhanI aMtima paMkti pachInA vinaSTa bhAganI paMktinAM mAtrA vagere cihno dekhAya che tethI teno aMtima bhAga naSTa thayelo che te jANI zakAya che, jemAM lekhanasaMvat tathA AgevAna gRhasthonA hastAkSaro tema ja dvAdazAvarta guruvaMdanano pATha haze. 9 eke lekhanasaMvALo bhAga naSTa thayelo che, chatAM A vijJaptilekha nArAyaNAsthita tapAgacchIya AcAryazrI vijayaprabhasUrijI prati lakhAyelo che tethI tenI samayamaryAdA nizcita thaI zake tema che. vijayaprabhasUrijInuM nirvANa vi. saM. 1749mAM thayuM che, ane vi. saM. 1729thI 1738 sudhInA temanA vihAro marubhUmimAM thayelA hoI A daza varSanA gALAmAM prastuta vijJAptalekha lakhAyelo hovo joIe. vijayaprabhasUrisaMbaMdhI hakIkato tapAgacchIya paTTAvalIomAM sahaja sulabha che. 37 A lekhamAM je mukhya prastuta vijJaprilekha che temAM A aTakomAMnI moTA bhAganI aTako Ave che. 38 juo zrImad buddhisA. saMpAdita ' jainadhAtupratimAlekhasaMgraha bhA0 1' lekhAMka 306 (saM0 1509), 39-40 juo uparanuM pustaka lekhAMka 541 (saM0 1485). 41 lekhAMka 640 (saM0 1514). 42 "1 lekhAMka 251 (saM0 1422), lekhAMka 306 (saM0 1509), lekhAMka 340 (saM0 1514) tathA munirAjazrI vizAlavijayajIsaMpAdita ' rAdhanapurapratimAlekhasaMdoha ' lekhAMka 227 (saM0 1520) ane lekhAMka 324 (saM0 1564). 43 juo ' rAdhanapurapratimAlekhasaMdoha ' lekhAMka 227(saM0 1520) tathA zrIvinayasAgarasaMpAdita ' pratiSTAlekharAMgraha ' lekhAMka 1026 (saM0 1628), 44 juo zrImad buddhisA. saMpAdita ' jainadhAtupratimAlekhasaMgraha bhA0 2 ' lekhAMka 13 (s0 1394). 45 juo u0 zrIvinacasAgarasaMpAdita 'pratiSTAlekhasaMgraha ' lekhAMka 57 (saM0 1293), 4 46 juo uparanuM pustaka lekhAMka 1026 (saM0 1628). krura aTaka Aje vaDanagaranA brAhmaNa kuTuMbamAM che. 47 juo ' rAdhanapurapratimAlekhasaMdoha ' lekhAMka 227 (saM0 1520), 48 juo munizrI jinavijayajIsaMpAdita ' prAcInajainalekhasaMgraha bhA. 2' lekhAMka 451thI 454. (saM0 1649 tathA saM0 1654), vikramanA 18-19mA zatakamAM lakhAyelA aneka vijJaptilekhonA aMtabhAgamAM lekhanasaMvata, lekha lakhanAra mukhya AgevAnonI sahIo ane guruvaMdanano pADha hoya che tenA AdhAre vinaHpADanI kalpanA karI che.

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vaDanagarane nAgara jaina saMgha H 85 kAgaLa upara lakhAyelo A vijJaprilekha atijIrNa hovAthI tene ukelatAM TukaDA thaI jAya tevI hAlatano hato. tethI tenA upara nezanala akaIjha-nyu dilhImAM pAradarzaka kapaDuM caDAveluM che. tenI kula laMbAI 7 phUTa ne 4 IMca tathA pahoLAI 9 iMca che. tene be vibhAgamAM vibhakta karI zakAya : 1. citravibhAga ane 2. lekhavibhAga. citravibhAganI laMbAI 2 phUTa ne 9 Ica eTale ke 33 Ica che, zeSa lekhavibhAganI laMbAI 4 phUTa ne 7 Ica che. citravibhAgano paricaya A pramANe che-prAraMbhamAM 14 iMca laMbAImAM tIrthakara bhagavAnanA janmasUcaka 14 svamo che. tyAra pachInI 4 IcanI laMbAImAM AcAryazrIne vinItabhAve vaMdana karatA cAra zrAvakonAM rUpa che. te pachI pA IcanI laMbAImAM bAjoTha upara besIne dharmopadeza karatA AcArya, temanI pAchaLa bAjoTha upara beThelA eka ziSya, temanI sAme vinItabhAve hAtha joDIne beThelA be zrAvako tathA vaMdanakriyApravRtta be zrAvikAnAM citro che. ane tenA pachInI 9 IcanI laMbAImAM AlekhAyelA sAmaiyAnA prasaMgamAM nartaka. mRdaMgavAdaka, tAlavAdaka tathA bhUMgaLavAdakanI AkRtio ane hAthI upara beThelA be puSanI AkRtio che. Ama kula 33 IcamAM citravibhAga pUrNa thAya che. A citravibhAgamAM AvatAM puruSa-strIonAM citro gujarAtanI tatkAlIna vezabhUSAnAM sUcaka che. zeSa vibhAgamAM vijJaprilekha Avelo che. lekhanI lipi devanAgarI hovA chatAM ka-ba-cha jevA gujarAtI akSaro paNa koI koI vAra lakhelA che. lekhamAM AvatAM koIka saMskRta rUpone te samayanI gujarAtI bhASAnI eka prakAranI zailIrUpe ja samajavAM. AvA prayogo vikramanA 20mA zataka sudhI thatA AvyA che eTaluM ja nahIM, Aje paNa gujarAtamAM gujarAtI bhASAmAM lakhAtI jaina dhArmika kaMkotrIomAM "zrI pArzvajina praNamya" jevA saMskRta prayogo lakhAya che. vAcakone lekhanI citrazailI ane lipinA AkAra-prakArano khyAla Ave te mATe tenI pratikRti ahIM ApI che. 105 paMktiomAM lakhAyelA A vijJaprilekhanI bhASA ane jaNa te samayanI sarvasAdhAraNa vyavahAru zailInI che tethI etadviSayaka abhyAsIone upayogI thAya e dRSTie mULa lekhane saMpUrNa utAro tenA lekhakanI joDaNI mujaba akSaraza: ahIM ApuM chuM 50- (pNkti-1):|| svasti zrIAdejana praNaMmyaH svasti zrIsAMtaja(2)naM praNamya svasti zrInImajana praNAMmya svasti zrIpA(3)rasvajana praNamya svasti zrIvIrajaMna praNamya aMnaka (4) vAva bana kUA talAva zrIjanaprasAdasIparasobhI(5)ta zrIpUjicaraNareNuMpAgapUte zrImatI zrInArAeNA(6)nagare pUjArAddhatamotamAM paramapUja aracanIAM(7)n cAritrapAtracuDAmaNI kUmatAMdhakAranabhoma(8)NI sakalasAdhazIromaNI ekavidhazrIjanA(9)jJApratIpAlaka duvidhadharamanA parUpaka traNa tatva(10)nA jAMNa cAra kaSAenA jIpaka paMca mahAvratanA (11) pAlaka cha kAenA pIhara sAta bhayanA nIvAraka (12) aSTamadacuraka navavADasahita bhramacaryanA (13) dhAraka dasavIdha jatIdharamanA parUpaka agIA(14)ra aMganA jAMNa bAra upAMganA upadezaka tera kA(15)ThIAnIvAraka caudavidAguNajAMNa panarabhe(16)dazIdhanA parUpaka solakalAsaMpUraNasasIva(17)dana satarabhedasaMjamanA pAlaka aDhArasahesa(18)zIlAMgarathanA dhAraka zrIjJAtAsutranA o(19)gaNIsa adhenanA parUpaka 50 vijJaprilekhanI vAcanAmAM ApelAM cihnonI samaja A pramANe che : () AvA koSTakanA madhyamAM lakhelA "1-2 Adi aMko te te saMkhyAvALI mULa lekhanI paMktinA prAraMbha sUcaka che. ( ) AvA ja koSTakanA madhyamAM ApelA akSaro tenA AgaLanA azuddha akSaronA badale meM mAnelA zuddha akSara che. ane [ ] AvA koSTakamAM Avato pATha meM umerelo che. ahIM azuddhanA badale mUkelA zuddha pAThanI tathA umerelA pAThanI bhASA-joDaNI maLalekhakanI bhASA-joDaNIne anusarIne mUkI che. A vijJaptilekhano akSarazaH anuvAda Apelo che tethI lekhagata apabhraSTa zabdonA zuddha zabdo abhyAsI varga sahaja samajI zakaze te kAraNathI tevA pratyeka zabda upara alaga TAMcaNa nathI ApyuM.

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81 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha vIzvavasvAjIvadeA(20)nA pAlaka ekavIsa sabaladoSanA TAlaka (21) bAvIsa pUrasonA jIpaka zrIsugaDAMgasutranA tevIsa adhenanA] (22) parUpaka covIsa tIrthakaranI AjJAnA pAlaka (23) paMcavIsa bhAvanAnA bhAvaka chavIsa dazAka(24)lapanA jAMNa satAvIsa aNagAraguNi karI (25) vIrAjamAna aThAvIsa AcAranA parUpaka (26) ogaNatrasa pApazrutanA jAMNa trIsa muhanI (27)sthAMnakanA nIvAraka ekatrIsa sIdhaguNanA (28) jAMNa batrIsa jogasaMgrahanA jAMNa tetrIsa A(29)sAtanAnA TAlaka zrItIthaMgaranA cotrIsa (30) atIsahenA jANa pAMtrIsa vANIguNanA pa(31)rUpaka chatrIsa chatrIse karI verAjamAna evaM a(32)nekaopamAjoga zrIpUjya jAyasaMpUne ba(33)lazaMpUne kUlasaMpune rUpasaMpUne oaMzI (34) tIaMsI vaMca(vacaM)sI jIha (a)kohI jIamANe (35) jIalome jIanIdde sarasvatIkaMThaA(36)bharNa kalIkAlagautamAavatAra abo(37)dhajIvapratibodhaka sakalabhaTArapuraM(38)dara bhaTArakasaromaNI bhaTAraka zrIzrI(39)zrIzrIzrIzrIzrIzrIzrIzrIzrIzrIzrIzrI(40)zrIzrIzrIzrIzrIzrIzrIvijayaprabhasu(41)rIsvara saparIvArAM caraNAMn caraNakama(42)lAMn [praNamya zrIvaDanagarasthAMnAt laSIta zadA Ade(43)zakArI caraNazevaka AjJAkArI pAe(44)rajareNusamAMna sevaka devI rakhajI damo(45)dara do kesvadAsa amarasI gAM acala mADa(46)Na devI aSai gAMdhI dvaDhA zre kAnajI harajI (47) do devajI vIrajI do jevaMta do vastA jasa(48)rAja sA aMdarajI zre jogIdAsa harIdAsa (49) gAM mAdhavajI do sAMtIdAsa kUarajI gA su(50)dara moghA sA tIkramadAsa tejapAla do vIra(51)jI laDakaNa sA ratanIA mAdhava devI dhanI (52)A vIramajI devI mAhAvajI madanajI zre o(53)dhavajI mAMDaNajI sA kIkA gaNeza zre mAMnA (54) harIdAsa gAdha kalANajI zre sAMDhIU gaNesa (55) gAdhI haluo devI lAdhA jIvaNa zre aMdUjI (56) kalAMNajI va sA prabhujI gaa| valabha dulabha(57)jI zre somajI manohara zre vIrA harIdAsa zrelA(58)lA mukaMdAsa zre lAlA vAchA zre lAlajI sA garI(59)badAsa devI nAraNajI hAthI sA vAghA zre mAlIo maka(60)dIo paTU khemajI paTU kesavajI devI vIramu guro (61) gAdhI abherAjI pramukha tathA saMghasamastake(62)na trakAlavaMdanA avadhArajo jI __jata ehAM (63) zrIpUjajInI krIpAe karI dharamadhAna suSi pra(64)varate cha zrIpUjajInA dharamadhAnanA su(65)pasamAdhanIrAbAdhapaNAnA kAgula samAcA(66)ra laSI sevakane saMtoSa karavA(vo) tathA atra zrI(67)paju[sa]Naparava nIravadhanapaNe thiAM che kAlannA(68)vasArU bIjuM tapa tathA sAMmIvachala laheNa pra(69)muSa dharamakaraNI vaseSe theAM che tathA zrIpU(70)jajInI AganAe paMnAM zrIprItavaje ehAM (71) comAsu AvA teNe karI saMghanu maMna ghaNu rA(72)jI rASU che teNe karIne dharamadhAna vazeSe cA(73)lo che zrIbhagavatIsutra sajhAe zrIUtarAdhe(74)nasutra vaSANa vaMcAe che zrAvaka TaMka 2 paDIka(75)maNe Ave chai bIjU zrIpUjajInA zISa (76)jevA joie tevA che ghaNu sArU che bIjU zrI(77)pUjajI vInatI avadhArajo jI AvatA cumA(78)zAno Adeza paM. zrIvinevImalane tathA (79)gaNI zrIudesomane Adesa prasAda kara(80)jo jI avasa e vInatI avadhArajo jI jo (81)saMghaD maMna ThAma rASo to pUrave atrano(nA) saM(82)ghana maMna ghaNuM bagaDU hUtU te paM. zrIprItavaja(je) (83)atra Avate maMna Sama rahUMche have jenI vI(84)natI laSI che tene Adesa prasAda karasu to (85)saMghanu maMna ghaj vadhase bu(bI)jU pUje zrIvIje(86)devasura paNa nAgaravAMNIA jAMNIne vI(87)natI avadhAratA ane zrIpUjajIe paNa ema (88)ja vInatI avadhAravI bu(bI)jU vaDanagarano saM(89)gha sadaiva zrIpUjano bhagata che paraM pATabhagata (90) che zrIpUjijI zrIvaDanagaranA saMgha Upara krIpA . rA(91)So cho tethI vaseSe avadhArajo UpAdhA zrImegha(92)vIje gaNI paMDIta zrIhemavIje gaNI paMDatI(DIta) zrIprI(93)te(ta)vaje gaNI paMDIta zrIvImalavIje gaNI paMDIta jI(94)tavIje gaNa(NI) paMDIta zrIrIdhavIje gaNI gaNe(NI) ve(vi)veka(95)vIje rUpavIje pramuSa zrIjInA paravArane vaMdanA (96)vInavajo atrathI paM zrIprItavIje gaNI AM(97)NaMdavIje muni rAmavIja(je)nI vaMdanA avadhAra(98)jo dUhA---

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na 1ii vaDanagarano nAgara jaina saMgha H 87 ama haiDU dADamakalI bharIu tama guNe[Na] / (16) avAja 4 na samaje vIsa lekha | 2 | ke (100) sudI vacho vasa()tamAre mI(g) +oNA samarI (20)SA sahIM jo emAM ma(?) mana tama sabarI | 2 | (202) mAM dUra gatavaI[ vahorIgA aSA. ( 2) maMna nAMNe AvI mahuM caiva na kIdhI vaMg |3 || (04) -- sIva samudra saratana (?) mAta vImAta ! =(20%) () samudra sa ha to vAta juvala mAsa | 4 || sarvasAdhAraNa gujarAtI vAcako prastuta vijJaprilekhane samajI zake te hetuthI teno mULabhASAnI najIkamAM rahIne thoDA upayogI parivartanavALo akSarazaH anuvAda vartamAna gujarAtI bhASAmAM ApuM chuM (paMkti-1) . svasti zrIAdijina praNamya, svasti zrI zAMtiji(2)ne praNamya, svasti zrInemijina praNamya, svasti zrIpA(3)zvajina praNamya, svasti zrIvIrajina praNamya, aneka (4) vAva-vanakUvA-taLAva-jinaprAsodozakharazIbha(5)ta zrApUjyacaraNareNanA parAgathI pavitra zrImatuM zrInArAyaNa (6)nagare pUjArAdhyatamottama paramapUjA arcanIya (7) cAritrapAtracUDAmaNi kumatadhakAranabhoma(8)Ni sakala sAdhuziromaNi, ekavidha zrIjinA(9)jJApratipAlaka, kividha dharamanA prarUpaka, traNa tattva(10)nA jANa, cAra kaSAyanI jIpaka, paMca mahAvratanA (11) pAlaka, cha kAyanA pIyara, sAta bhayanA nivAraka, (12) aSTamadacUraka, navAvAsahita brahmacaryanA (13) dhAraka, dazavidha yatidharmane prarUpaka, agiyA(14) aMganA jaNa. bAra upAMganA upadezaka, terA(15)ThiyAnivAraka, caudavidyAguNajaNa, paMdarabhe(16)da siddhanA prarUpaka, solakalAsaMpUrNazaziva(17)dana, sattarabhedasaMyamanA pAlaka, aDhArasahastra(18)zIlAMgarathanA dhAraka, zrI jJAtAsUtranA o(19)gaNasa adhyayananA prarUpaka, vIsavasA jIvadayA(20)nA pAlaka, ekavIsa sabaladoSanA TAlaka, (21) bAvIsa parisahanA jIpaka, zrIsUtrakRtAMgasUtranA [ tevIsa adhyayananA 1 (22) prarUpaka, covIsa tIrthakaranA AjJAnA pAlaka, (23) pacIsa bhAvanAnA bhAvaka, chabbIsa dazAka(24)95nA jANa, sattAvIsa anagAraguNe karI (25) virAjamAna, aThThAvIsa AcAranA prarUpaka, (26) ogaNatrIsa pApazratanA jANa, trIsa mohanIya(27)sthAnakanA nivAraka, ekatrIsa siddhaguNanA (28) jAMNu, batrIsa yogasaMgrahanA jAMNa, tetrIsa A(29)sAtanAnA TAlaka, zrItIrthaMkaranA cotrIsa (30) atizayanA jaNa, pAMtrIsa vANIguNanA pra(31)rUpaka, chatrIsa chatrIse karI virAjamAna, evI a32). neka upAyogya zrIpraya jAtisaMpanna ba(33) saMpanna kulasaMpanna rUpasaMpanna ojasvI (34) tejasvI cI jitakodha jitamAna (35) tilobha jitanidra, sarasvatIkaMTha(36)bharaNa kalikAlagautamAvatAra abo(37)dhajIvapratibodhaka salabhadArapura(38)dara bhArakaziromaNi bhaTTArakazrIzrI(39)zrIzrIzrIzrIzrI zrIzrI zrIzrI zrIzrIzrI(40)zrIzrI zrIzrIzrIzrIzrI vijayaprabhasU(41)rIdhara saparivAranA caraNakama(42)lAna [praNamya] zrIvaDanagarasthAnAta likhitaMga sadA Ade(43)zakArI caraNasevaka AjJAkArI pAya(44)rajareNusamAne sevaka devI ravajI dAmo(45)dara, do. kezavadAsa amarasI, gAMacala mAMDa(46), devI akhaya, gAMdhI hUDhA, zreSThI kAnajI harajI, (47) do. devajI vIrajI, do. jevaMta, do. vastA jasa (48)rAja, sA. aMdarajI, zre jogIdAsa haridAsa, (49) gAM. mAdhavajI, do. zAMtidAsa kuMarajI, gAM. suM(50)dara moghA, sAva trIkamadAsa tejapAla, do. vIra(51)cha laDakaNa, sAi ratanI A mAdhava, devI dhanI(para)A vIramajI, devI mAhAvajI madanajI, zreTa (53)dhavajI mAMDaNajI, sA. kIkA gaNeza, zreTa bhAnA (54) haridAsa, gAMdhI kalyANajI, zre. sAMDhIo gaNeza, (55) gAMdhI haluo, devI lAdhA jIvaNa, !

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88 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha zre. aMjI (56) kalyANujI, sA. prabhujI, gAM vallabha dulabha(57)jI, zre somajI manohara, zre. vIrA haridAsa, zre. lA(58)lA mukuMdadAsa, zre. lAlA vAA, zre. lAlajI, sA. garI(59)badAsa, devI nAraNajI hAthI, sA. vAghA, zre. mAlIo maka(60)dIo, paTTa. khemajI, paTTa kerAvajI, devI vIramu guro (61) gAMdhI abhayarAjajI pramukha tathA saMghasamastaka(62)nI trikAla vaMdanA avadhArajo jI. jata ahIM (63) zrIpUjyajInI kRpAe karI dharmadhyAna sukhe pra(64)varte che. zrIpUyanA dharmadhyAnanA su(65)khasamAdhi-nirAbAdhapaNAnA kAgaLa samAcA(6)ra lakhI sevakane saMtoSa karavo. tathA atra zrI(67)paryuSaNaparva nirvighnapaNe thayAM che kAlAnu(68)sAra. bIjuM tapa tathA svAmivAtsalya laheNI pra(69)mukha dharmakaraNI vizeSe thayAM che. tathA zrIpU (70)jyajInI AjJAe panyAsa zrI prItivijaya ahIM (71) comAsuM AvyA teNe karI saMghanuM mana ghaNuM rA(ra)jI rAkhyuM che, teNe karIne dharmadhyAna vizeSe cA(73)lyo che. zrIbhagavatItra, sajjhAyamAM zrIuttarAdhyaya(4)na satra vakhANa vacAya che. zrAvaka TaMka-2 pratikra(75)maNe Ave che. bIjuM zrIpUyajInA ziSya (76) jevA joIe tevA che, [te] ghaNuM sArUM che. bIjuM zrI(7)pRyajI vInati avadhArajojI-AvatA comA(78)sAno Adeza paM. zrIvinayavimalane tathA (79) gaNI zrIudayasomane Adeza prasAda kara(80)jo jI. avazya e vIti avadhAro jI. je (81) saMghanuM mana Ama rAkho to pUrve atranA saM(82)nuM mana ghaNuM bagaDayuM hatuM te paM. zrIprItivijaya (83) atra AvatAM mana kSema rahyuM che. have jenI vI(84)ti lakhI che tene Adeza prasAda karazo to (85) saMghanuM mana ghaNuM vadhaze. khIjuM pUjya zrIvijaya(86)devasUri paNa nAgaravANiyA jANIne vI(87)nati avadhAratA, ane zrIpUyajIe paNa ema (88)ja vIti avadhAravI. bIjuM vaDanagarano saM(89)gha sadaiva zrIpUjyano bhakta che, parama pATabhakata (90)che. zrIpunyajI vaDanagaranA saMgha upara kRpA rA(91)kho cho tethI vizeSe avadhAro. upAdhyAya zrIrmagha(92)vijaya gaNI, paMDita zrIprI(93)tivijaya gaNI, paMDita zrIvimalavijaya gaNI, paMDita jI(94)vijaya gaNI, paMkita zrIRddhivijaya gaNI, gaNI viveka(5)vijya rUpavIjaya pramukha zrIjInA parivArane vaMdanA (96) vInavo. atrathI paM. prItivijaya, gaNI A(97)naMdavijaya, muni rAmavijayanI vaMdanA avadhAra(98)ne hA ama haiDuM dADamakalI, bhariyuM tuma guNa / (99) avaguNa eka na sAMbhare, vIsArIje jeNa | 1 || jema (100) surabhIne vacho, vasaMtamAsane koyala samare / viM(101)dhyane smare gajendra, ama mana tema samare / / 2 / / (102) ADA DuMgara atidhaNA, vahoLIyAM asaMkha (103) mana jANe AvI maLuM, daiva na dIdhI paMkha // OM / (104) ~~ chIpa samudrameM, karatI Asa pisa / ja(105)ra samudra sakha hI tajyo, svAtibiMdukI Asa || 4 || prastuta vijJaptilekhanI kula 105 paMktiomAM 1thI 61 sudhInI paMktiomAM maMgalarUpa paMcajinanamaskAra, sthaLano ane AcAryazrIno nAmollekha, AcAryazrInAM vizeSaNo ane vijJaptipatra lakhanAra gRhasthonI nAmAvalI Ave che tathA 98nI paMktithI 105mI paMktiomAM gurupratyenA anurAgacaka subhASita dohA che. zeSa 36 (62thI 97) paMktiomAM je lekhya vastu che temAM nIce pramANenI mukhya cAra hakIkato che :

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vaDanagaranA nAgara jaina sagha : 89 1. AcAryazrInA AdezathI vigata cAturmAsa karavA AvelA munionI prazaMsA ane temanA AvavAthI zrIsaMghane dharmakaraNI, vyAkhyAnazravaNa vageremAM rahelI khUba ja anukuLatA. 2. AgAmI cAturmAsamAM e munione mokalavA mATe temano nAmollekha karIne savinaya vinaMti karI che. 3. pahelAM zrIsaMghanI icchA na sacavAyAnA kAraNe zrIsaMdhanuM guruvarga pratye UMcuM mana thayeluM tenI yAda ApIne ane AcArya zrIvijayadevasUripa paNa zrIsaMghanI icchA sAcavatA tenI paNa yAda ApIne jemanAM nAma jaNAvyAM che te munione AgAmI cAturmAsamAM mokalavA mATenI bahumAnabharI savinaya vinaMti. 4 prasiddha vidvAn upAdhyAyajI zrImeghavijayajI gaNIno nAmollekha hovAthI te samaye teo A. zrIvijayaprabhasUrijInI sAthe hatA te jANI zakAya che. zilAlekha tathA mUrtilekhomAMthI tAravIne jainadharmAnuyAyI nAgaravaNikajJAtinI aTako meM pahelAM lakhI che, jeno samaya A vijJaptilekhathI pahelAMno che, tenA AdhAre kahI zakAya ke prastuta vijJaptilekhamAM AvatI gAMdhI, dosI, saMdhavI, zAha, sA vagere aTako nAgaravaNikajJAtinI ja che. vijJaptilekhamAM AvatI 'devI' aTaka vaDanagaranA nAgaravaNikonI che. zreSThI, gAMdhI, dosI ane devI aTakovALA nAgaraviNuko Aje paNa vaDanagaramAM che. AthI kahI zakAya ke vijJaptilekhamAM je nAmo che te nAgaravikonAM ja che. A hakIkata lekhanI 85-86-87mI paMktimAM AvatA " zrIvaje(8)devasara paNa nAgaravANIo jANIne vI(87)natI avadhAratA " A pAhethI paNa nizcita thAya che. lekhamAM AvatA nAgaravikonA samudAyanA AdhAre tathA lekhanI 81-82 ane 85mI paMktimAM AvatA saMdha 'zabdanA AdhAre vaDanagaramAM jaina nAgaravaNikono zrIsaMdha hato e vastu spaSTa thAya che. vikramanA 18mA zatakamAM vaDanagaramAM osavAla, zrImAlI Adi jJAtionA vaNiko nahIM hoya tema mAnavAne koI kAraNa nathI. chatAM nAgaraviNuko ane anya vaNikonA dhArmikaprasaMgonI ujavaNI kAM to judI thatI haze athavA to ekarUpe thatI haze topaNa temAM nAgaravaNikonuM viziSTa prAdhAnya haze eTaluM to vijJaptilekhamAM AvelI nAgaravaNikonI nAmAvalInA AdhAre kalpI zakAya. A lekha jenA AdhAre lakhAyo che, te vijJaptipatra tathA sacitra kalpasUtranI pothIno upayoga karavAnI anumati ApavA badala huM amadAvAdanA zrI. lA. da. bhAratIya saMskRti vidyAmaMdiranA mukhya niyAmaka paM. zrI dalasukhabhAI mAlavaNiyAno AbhArI chuM. 51 A. zrIvijayadevasUrijI te A. zrIvijayaprabhasUrijInA guru hatA.

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ha0 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava dhAzrIzrIzrIzrIzrIyAdAjiyaprala ragharasapazavAzayarI yurANakana snAna-zrAvanagarasyAnAtavAdAbAda vAphAzayararAvAvAjhAkArAe rajarie sabhInasaradAravajAro daradIvAsamamaranIyAmA zahavAmapagIdAdAvihIna jArI dahivalavArajAvAjetavAvastA apta rAja sArajAnAjAjAsarArAma gAMbhAnajAdAsItakAra gotra darabhAdhAmAsakramAta pAlApAra jAe bhAratanAkAmAvAdapAdhanA prAvAramaUhipApAzavamarajAnI dava jAmoDamAnAmAgabhInA rApArAgAIkazApromojagArI nAhI hAtviAlAdhajAvaempela balAegAvasApralayajalajanna jAsomanohara pArAzarApara lAIvadhAtApAchAsAgara nahacAnAzayazathAmAvAdhAramA mAtra paDUpamA paniSadivAnAramuro gAvAvarolapramatayAdhamapraschi natrakAnavanAvakSarajAjajanaza zrAntaDajAnAkAraharIramazAnabhUSitra bharatachAhajajAmA ramAnanA calanAyanArAbAipAnAkAjalasamAyA ralapAsesanasanIkaravAtayAtrA ecaeezvanArabadhana poSTiyochakAharanta dasAbAhutakarayAnAzAjana3ema mugharamAce yechinathAkAra jajAnAbhAgIyapanAmAprapA yomAvAbAbekaradhanurmanadharA jAgabaNDarAnesaramadAnabodhaka lohagAnazalAntramajhArakhAUmAI navarayAe-yArakSetrAMmaTara mAnaumAjajAnA jApa janAjoienecha sADUchAmA pUjavInatApadArajI)zrAvanAma nAnAaAdivAnAvAne vAmalanethA gA- kAsAnaneminAra jIjAsavAna nAmadhArajIjAjI saMghamaMnAbharAzanAtaravatratranAmI ghanaghavagatanatestrIjAtakA kAtrabhAvata nayanara vajanAnI natAranadhAnaRmisAra karane dhanadhayevamanujazrAvAja varapae nAgaravAhAprAjopAnavA natA adhAratAmanItajAramaema javInatApadAravInuSyavAragaranAra pradevamIjanolAta pAranAta zrAjinApAnasaranAmeTriparakampAra zitidhAvapaRpArajorAdhAmAdha bajigagADItahimapAgANA tAlA tejevAeta zrIvarakSAjezagaDAja talagAyata-zrIzavAjagAgomojala bAjapapramu-yAjAnAparavAnA vAnamAzradhAtrIprAtabAgagADI najamunAzabhavAnImA prakAra vikamanA 18mA zatakanA pUrvArdhamAM vaDanagaranA jena nAgara zrI tapogarachIya AcArya zrI vijayaprabhasUrijI upara lakhela vijJaptipatranA lekha vibhAganI 40 thI 97 sudhInI paMktio. 80-90 sudhInI paMktiomAM nAgaravANiyA ane vaDanagarano nirdeza joI zakAya che.

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vaDanagaranAM nAgara jaina saMgha : 91 have prAraMbhamAM jeno nirdeza karyo che. te nAgarazreSTIe lakhAvelA citra kalpasUtranI hastapratano paricaya ApuM chuM : prastuta kalpasUtranI prati paNa 'zrI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira-amadAvAda'nA zrI lA 60 graMthasaMgraha'mAM surakSita che. teno kramAMka 4561 che. pratinI laMbAI-pahoLAI 10 x 4} IMca pramANa che, hAlata sArI che. temAM vikramanA 16mA zatakamAM lakhAyelAM sonerI raMgayuktacitravALAM kalpasUtronI zailInAM 39 surekha citro che. pratinI patrasaMkhyA 130 che. 130mA patranI prathama pRSTimAM kalpasUtrano pATha pUrNa thAya che. tyAra pachI pustaka lakhAvanAranI prazasti ane puSpikA che. prastuta prati vikramanA 18mA zatakamAM thayelA 50 zrI kalyANusuMdarajInI pAse haze te temaNe vizva saM 1789mAM (eTale ke prati lakhAyA pachI 242 varSa pachI) vAcanAaurya zrI naiNusIjIne ApelI tenI noMdha paNa prati lakhAvanAranI aMtima puSpikAnI pachI lakhelI che. ukta prazakti vagereno pATha je patramAM che tenI be bAjunI pratikRti ahIM ApI che. prastuta prazasti vagerenI vAcanA A pramANe che : araNa-kaMcaNanikaraM AdijiNesara vihAra vimalayaraM / gaDha-ma-maMpiva vanayAM nayaka vakaHya // 6 // nAgaranarasirihIro dhaNasI jiNadhammavAsiyasarIro / bhAvaladevI bhajA viNaya- vivekAiguNasajjA // 2 // suta - deva hemarAja gaDasI kanhaDakumAra kulatilao / kaDubhidha jhAlAbhi [va] saMghavaI sayalaguNanilao || 3 || sirimuNisuMdarasUrI dUrIkayapAvapaMkao jehiM / tassa paryavaNakara mahUsavo kArio tehiM // 4 // siridevarAjagharaNI hIrU nialoaNeNa jiahariNI / sua - desala jesiMgA jiNadhamme jassa navaraMgA // 5 // desalaghari devasirI suta AMbA tassa gharaNi delhAI / nagarAja kuMarapAlo ratnAbhidha puttarayaNavaI // 6 // panarasasatatAlI se phagguNamAsassa suddhadasamI [ e ] / sirilachisAyarasIsassa lihAvio kampa-mmo // 7 // saM0 ta(1) 1547 varSe jyeSTa sudi 1 ravivAre likhitaM maMtri vAhAkena // zrIpataniM vAstavya // cha // zrI gurma mavatu // che || jvALamastu || %0 || zrIH / bIjA akSaromAM-- vAcanAcArya zrI naiNasIjIkAnAM pratiriyaM paM. kalyANasuMdareNa pradattA saharSam // saM0 1789 rA bhAdravA vadi 7 dine // anuvAda--" dhAnya ane suvarNanA samUhavALuM = dhAnya-dhanathI samRddha, AdijinezvaranA prAsAdathI atipavitra ane jemAM zreSTha killo mo tathA maMdiro che tevuM mahAnagara vaDanagara jaya pAmo. [ A nagaramAM] nAgaranaronI zobhAmAM hIrA samAna, deha paNa jeno jainadharmathI vAsita che = jenI AkRti paNa jainatvanI khAtarI Ape che tevo dhanasI = dhanazrI nAmano [ zreSThI ] hato, ane tene vinaya-vivekAdirguNayukta bhAvaladevI nAmanI bhAryAM hatI. [ teone ] devarAja hemarAja gaDasI = dhaTasiMha kahukumAra kaDuo ane jhAlo nAmanA kuLamAM tilakasamAna putro hatA.3 .

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92 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha temaNe = devarAja vageree pApakarmathI varjita evA zrImunisuMdarasUrinI AcAryapadavInA prasaMge mahotsava karAvyo hato.4 zrIdevarAjane AMkhonA saundaryathI haraNIne paNa jItI jAya tevI hIru nAmanI patnI hatI. ane temane jainadharmamAM navA raMgavALA desala ane jesiMga nAmanA be putro che. Trusalane phrevazrI nAmanI patnI ane AMbA nAmano putra che. [ ane ] AMbAne nagarAjakuMarpAla-ratno e nAmanA [traNa] putraratnavALI delhAi nAmanI bhAryAM che. [saMvata] 1547nA phAgaNa mAsanI ajavALI dazamanA divase [AMbAe] zrIlakSmIsAgaranA ziSya mATe A kalpasUtra lakhAvyuM. saMvata 1547 varSe jeTha suda 1 ne ravivAre pATaNanA vatanI maMtrI vAchAke = vALaka dvArA lakhAvyuM. zubha thAo. kalyANa thAo. (bIjA akSaromAM) 50 kalyANasuMdare vAcanAcArya zrIneNasIne A prati saharSa ApI che. saM0 1789nA bhAdaravA vada nA divase." A prazastinI racanA saMvata 1547nA phAgaNa suda 10nA divase thayelI ane te ja varSanA je suda 1 ne ravivAranA divase tene graMthamAM lakhI che, tethI saMbhava che ke te bahAragAma rahelA koI munimahArAje racIne mokalAvI hoya ane tethI samayanuM aMtara thayuM hoya. zabdazAstrAdinI dRSTie UNapa hovAne kAraNe vaktavyano bhAva sUcavatI sarala-sAdI prAkRta bhASAmAM prastuta prazasti racAyelI hovAnA kAraNe atispaSTatA na hovA chatAM prati lakhAvanAra AMkhA zreSThI che te nizcita che. labhya saMkhyAbaMdha prazastiomAM AvA prakAranI bhASArolIvALI prazastio paNa che, aneka prazastiomAM hilita zabda lakhAvyAnA arthamAM upayukta thayelo jovAmAM Ave che. tadanusAra prastuta kalpasUtrane AMbA zeThe pATaNanA vatanI maMtrI vAchAka dvArA lakhAvyuM che tema samajavuM joI e. pustakalekhanAdi mATe prAcIna kALathI pATaNa (aNahilapura) kendra raheluM che. pATaNamAM tathAprakAranA kalAkArono ane temanI kalAne samajanAra anubhavIono kAyamI vasavATa haze. A eka saMgata hakIkata che. prazastinI cothI gAthAmAM A. zrImunisuMdarasUrinuM tathA trIjI ane pAMcamI gAthAmAM devarAja zenuM nAma Ave che tema ja cothI gAthAmAM AcAryapadamahotsavano ullekha Ave che. A saMbaMdhamAM keTalIka vizeSa mAhitI ahIM ApuM chuM : prastuta kalpasUtra lakhAvanAra AMbA zeThanA dAdA devarAja zeThanA kharcathI thayelo A zrImunisuMdarasUrino AcAryapadamahotsava ane mahotsavanI samApti pachI devarAja zeThe zatruMjayagiranArano yAtrAsaMdha kADhyo hato A be prasaMgone paM. zrI pratiSThAsomaNa(A. zrImunisuMdarasUrinA gurubhAI )e vi. saM. 1524mAM racelA somasaubhAgya kAvyanA chaThThA sargamAM mukhyatayA varNavyA che. temAM vaDanagara, samelAtaLAva, nara-nArI, AcAryapadamahotsava ane yAtrAsaMdhanuM savistara varNana che. yAtrAsaMdhamAM 500 zabda = gADAM hatAM te hakIkata paNa noMdhI che. ukta AcAryapadamahotsava prasaMge vi. saM0 1478mAM devarAja zeThe batrIsa hambara sonaiyA khAM hatA, A hakIkata paTTAvalIomAM maLe che.para 52 zrIdharmasAgaragaNivaracita paTTAvalImAM 32000 TraMka jaNAvyA che, juo munirAjazrI darzanavijayajI ( tripuTI) saMpAdita ' paTTAvalIsamuccaya bhA0 1' pR0 63, 'TaMka' e suvarNa nANuM hatuM te hakIkata paM zrIravivardhanamRta * paTTAvalIsArAdvAra'mAM maLe che. juo ' paTTAvalIsamuccaya bhA0 1' pR0 156, ' .

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vaDanagarano nAgara jaina saMghaH 93 prastuta prazastinI trIjI gAthAmAM je devarAja pramukha che nAma Ave che temAMnA Adya devarAja hemarAja ane gaDaranI = ghaTasiMha A traNa bhAIono ullekha somasaubhAgyakAvyanA chaThThA sarganA 20-21 paghomAM che. tethI kaLa cha bhAIo haze paNa AcAryapadamahotsavanA samayamAM zeSa kanyAkumAra Adi traNa bhAIo vidyamAna na hatA te samajI zakAya che. prazastiomAM te te kuTuMbanI jAta mAtra vyaktiono nAmollekha karavAmAM Ave che. eTale atre ullekho asaMgata nathI. ahIM jaNAvelI hakIkatonA AdhAre tAravI zakAya ke vikramanA bAramA zataka pahelAM paNa nAgaravaNikono moTo varga jainadharmAnuyAyI hato. ane tyAra pachI paNa soLamA zataka sudhI te jaina paraMparAnuyAyI rahelo. vikramanA soLamA-sattaramA zatakathI temAM parivartano thavAno prAraMbha thayo haze chatAM vikramanA aDhAramA zatakamAM vaDanagaramAM moTA samUharUpe nAgaravaNiko jaina hatA tethI anyonya sthaLomAM tathA prakAranA varganuM astitva mAnavAmAM bAdhA Ave tevuM na mAnI zakAya. astu. vikramanA ogaNIsamA ane visamAM zatakanI vaDanagaranA nAgaravaNikone saMbaMdhita thoDI hakIkato maLI che te jaNAvIne A lekha pUrNa karIza. Aje vaDanagaramAM "aTALAnuM derAsara " e nAme oLakhAtuM jaina maMdira nAgaronuM hatuM. ane te zrI kuMthunAthasvAmInA maMdira tarIke oLakhAtuM hatuM. A maMdiranI jamaNI bAju aDIne teTalA ja pramANanuM bIjuM maMdira che, temAM mULanAyaka zrI RSabhadevajI che. tathA zrI kuMthunAthasvAmInA maMdiranA sAme paNa eka maMdira che temAM mULanAyaka tarIke zrI RSabhadevajInI lepa karelI pratimA che. A traNe maMdiro gharamaMdira rUpe che. eka rIte traNa gabhArA kahI zakAya. vacamAM nAnA cokavALA eka makAnanA be vibhAgomAM A traNa maMdiro che ema kahI zakAya. eka bAju be ane sAmenI bAju eka. eTaluM mAnavAne kAraNa maLe che ke, pahelAM mAtra zrI kuMthunAthasvAmInuM maMdira haze, athavA to A traNe maMdiro zrI kuMthunAthasvAmIne. maMdiranA nAme oLakhAtAM haze. zrI kuMthunAthasvAmInA maMdiranI jamaNI bAju AvelA zrI RSabhadevajInA maMdiranI bilakula sAme maMdirane mULa praveza mArga che, jeno upayoga Aje thato nathI. A maMdirone aDIne zrI kuMthunAthajInA maMdiranI DAbI bAju eka judu mAne che temAMthI je praveza thAya che. A makAnane devI tejakaraNa vakhatarAme (nAgaravaNika) vi. saM. 1897mAM dharmazAlArUpe bAMdheluM ane kadAca potAnI mAlikIrUpe rAkhyuM haze. tyAra pachI menA nAmanI dIkarInA janma pachI vi. saM. 1901mAM A dharmazAlAne sAdhAraNa khAte ApelI. A hakIkata darzAvato nAno zilAlekha Aje prastuta makAnanI bhIMtamAM che. teno akSaraza: pATha A pramANe che - (paMkti 6) zrIvaDanAra zrIyaMku(uM. 2)nAthananuM re che te pAse dhAma(uM. 3)sADhA tevI tejakaraNa vakhata(paM. 4)rAMme baMdhAvI che saMvata 1897(paM. 5)nA varSe mahA sudi 5 dine (paM. 6) vAra budha [1] zrIsAdhAraNaSA(paM. 7)te saMvata 1901nA vaisASa suda 2 di(paM. 8)ne bAi menA choDI AvyAM tAre che. A uparAMta vaDanagaramAM AvelA zrI mahAvIrasvAmIjInA bAvana jinAlayano vikamanA 19mA zatakanA madhyabhAgamAM jIrNoddhAra thayelo tenI devakulikAo paikI keTalIka devakulikAo "devI' sTavALA nAgaravaNikoe karAvyAnA ullekho te te devakulikA upara che. uparanI hakIkatathI eTaluM to cokkasa che ke vikramanA vIsamA zatakanA prAraMbha sudhI to vaDanagaranA nAgaravaNikomAM jaina paraMparAnuyAyI varga paNa hato. 53. jainatIrthasarvasaMgrahanA pahelA bhAgamAM koThA naM. 1070mAM darzAveluM zrI AdinAthajInuM maMdira che te ahIM jaNAvelAM traNa maMdiromAMnuM che.

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ha4 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava prastha vi. saM. 1930-40 sudhInA samayamAM vaDanagaranA aneka jaina nAgarakuTuMbomAMthI phakta devI kuTuMbanAM 2thI 30 ghara jainadharmAnuyAyI hatAM. A nAgaro custa jaina hatA, ane temane jainadharma choDavo paNa na hato. paNa tyAre jJAtivyavahAramAM jaina hovAne kAraNe kanyA levaDadevaDano avarodha thayo tyAre A nAgaravaNiko mUMjhAyA ane teoe amadAvAda AvIne zrI AtmArAmajI mahArAja, zrI ravisAgarajI mahArAja tathA zrI mohanalAlajI mahArAja vagerene vinaMti karI ke, amArI mUMjhavaNa TALavA mATe amone anya jaina vaNika komamAM dAkhala karAvo. paNa te samaye amadAvAdanI jaina vaNikajJAtie te vAta mAnI nahIM ane teo nAilAje paiNava thayA. A hakIkata yoganika AcArya zrImad buddhisAgarasUrijIe temaNe vi. saM. 1973mAM saMpAdita karelA "jainadhAtupratimAlekhasaMgraha'nA pahelA bhAganI prastAvanAmAM lakhI che. A saMbaMdhamAM munirAja zrI darzanavijyajI (tripuTI) A pramANe jaNAve che : " nAgara jenoe amadAvAdanI samagra jJAti vacce AjIjI karI ke ame jaina chIe, amane jJAtimAM meLavIne bacAvI lo. tapAgacchAdhirAja pU0 mUlacaMdajI gaNivara, sAgaranA zrIpUja bha0 zAMtisAgara, zeTha premAbhAI vagere teone meLavI levA sammata hatA. paNa amadAvAdanA jJAtinA ThekedAro dharmapremI hovA chatAM teoe jJAti premane vadhu vajana ApyuM. enuM pariNAma e AvyuM ke nAgaroe vikramanI vIzamI sadInA madhyakALamAM jainadharma choDyo ane sau vaiSNava banI gayA."(jaina paraMparAno ItihAsa, bhA. 2, pR. 712) A be noMdhonI tulanAmAM pU. zrImad buddhisAgarajInI noMdha prasaMganA najIkanA samayanI kahevAya. pU. maha zrI darzanavijyajInI hakIkatamAM nAmaparivartana nirAdhAra thayuM haze tema to huM cokkasa na kahI zakuM, paNa mArA saMzodhanakAryane aMge meM be vAra jainaparaMparAno ItihAsa joyelo tyAre mAre je jevuM hatuM te saMbaMdhamAM temAM bhrAmaka vidhAna joyelAM tethI jaNAvI zakuM ke, je anya prAmANika AdhAra na ja hoya to A saMbaMdhamAM zrImad buddhisAgarajInI hakIkata ucita manAvI joIe. astu. uparanA prasaMga pachI paNa vaDanagaranA nAgaravaNiko paikI keTalAka kuLanA aneka peDhIgata saMskArane lIdhe jaina maMdiramAM jatA hatA. AmAMnA chellA gRhastha zrI vrajalAla sakhArAma devI koI jJAtijana na jANe te rIte jinamaMdire jatA. A hakIkata meM vaDanagara jaIne temanA bhUtapUrva muni paTela pAsethI jANI che. zrI vrajalAla sakhArAmanuM mRtyu vi. saM. 2010nI AsapAsa thayuM che. temanA taraphathI apAyelI rakamanA vyAjamAMthI zrI mahAvIrajanmavAcananA divase (bhAdaravA suda 1) upAzrayamAM prativarSa prabhAvanA thAya che. je vyAjanI rakamathI prabhAvanAno kharca vadhAre thAya to zeSa rakama temanA suputra zrI hasamukhalAla vrajalAla devI Aja sudhI Ape che. moDha, disavAla, pallIvAla, khaDAyatA Adi vaMzonA jaina vaNikone paNa aneka ullekho maLe che. te ane ahIM jaNAvelA nAgaravaNikonA samUho jaina paraMparAmAMthI sAva lupta thayA te hakIkta eka rIte sucaka banI jAya tevI che. Ama thavAnAM kAraNe paikI keTalAMka kAraNa evAM paNa hoI zake, jenI carcAno adhikAra levo mane na paNa game. vaLI te keTalIka apekSAe mArA abhyAsanA viSayathI para che. eTale A saMbaMdhamAM A prakAranA anveSako ane adhikArIone A rIte mAtra aMgulInirdeza karI A lekha pUrNa karuM chuM. aMtamAM, zAstrIya anveSaNanI ja ahIM daSTi rAkhI che tethI koInA lAghavadarzanano aMza paNa bhArAmAM nathI e vinIta bhAve jaNAvuM chuM. vaDanagaranA zrIjainasaMghanA AgevAna zeThajI zrI caMdulAla cunIlAla zAha tathA zrI cunIlAla bhIkhAbhAI paTele mane keTalIka mAhitI ApI che te badala temano RNI chuM.

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gujarAtanA itihAsamAM vastupAlanuM sthAna eka sAhityarasika, saMskRtanA mahAvidvAna, kubera ane karNa ja puNya zloka vastu pAla nA jIvana upa2 keTaloka prakAza kanaiyAlAla bhAIzaMkara dave karatAM saMkhyAbaMdha kAvyo, prabaMdho, rAsAo ane caritro racAyAM che, jenA uparathI te eka puNyazloka mahApuruSa sAhityacUDAmaNi narapuMgava hatA ema samajI zakAya. A badhA caritrAtmaka graMtho, eka yA khIcha rIte, temanA abhinava guNonI prazasti gAya che; keTalAka prabaMdho ane rAsAo temanA jIvanavRttanI apUrva hakIkato rajU kare che; paraMtu temanA khAnagI jIvananAM keTalAMka pAsAMone temAM sparza karAyo hoya tema jaNAtuM nathI. AnA kAraNamAM ema kahI zakAya ke A mahApuruSanA jIvananI sAmAnya hakIkato rajU karavAnuM A badhA vidvAnone yogya nahi lAgyuM hoya; ane tethI ja temanA jIvananAM keTalAMka vidhAno haju asparza ja rahyAM che. vastupAlanA pitA, pitAmahU vagere pATaNamAM rahetA hovAnuM jaNAvI, caMDapa nAme mahApuruSathI tenA jIvananI zarUAta karI che. kArtikaumudImAM kavivara somezvare temano kauTuMbika vRttAMta rajU karatAM, te badhA uttarottara caulukyonA rAjakAla daramiyAna koI rAjakIya hoddA dharAvatA hovAnuM sUcavI, badhAne maMtrI tarIke saMbodhyA che. somezvara jevo vastupAlano parama mitra ane vidvAna kavi tenA vanavRttanI je je hakIkato nirUperajU kare te badhI prAmANita ja hoya temAM zaMka rAkhavAnuM kAraNa nathI. eTale vastupAlanA pUrvajo aNahilapuramAM rahetA hatA ema te kAvyanA kathana uparathI samajI zakAya. jyAre jinaharSanA vastupAlacaritramAM vastupAlane tenA pitA AzarAja sAthe suMDAlaka gAmamAM rahetA hovAnuM sUcavyuM che. vastupAlanuM caritra AlekhatA badhA graMthomAM jiharSano A graMtha vigatavAra jIvanakathA 1 kIrtikaumudI, sarga 3, zlo pathI 16. 2 jinaharSanuM vastupAlacarita, sarga 1.

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96 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha rajU karato eka viziSTa caritrAtmaka graMtha che. joke te vastupAlanA avasAna bAda be saikA pachI racAyo hovA chatAM, tenA caritranI je keTalIka avanavI hakIkato rajU kare che te bIjA koI graMthakAre saMgrahI nathI. DaoN. bhogIlAla sAMDesarAnA zabdomAM kahIe to, varatupAlanA jIvana ane kAryane lagatA potAnA samayamAM upalabdha evAM tamAma aitihAsika sAdhanono jina upayoga karyo hato ema jaNAya che. eTale tenA A kathana uparathI vastupAlanA pitA azvarAja-AzarAja saMhAlakamAM rahetA hovAnuM kahI zakAya. joke A gAma caulukyo taraphathI azvarAjane, enI sevAonA badalAmAM, bheTa tarIke maLeluM ema jinaharSe noMdhyuM che. A hakIkata uparathI eTaluM to spaSTa samajI zakAya che ke, tenA pitA saMhAlaka gAmamAM rahetA hatA. je A gAma paraMparAgata vastupAlanA pitAne InAmamAM maLyuM hatuM to pitAnA maraNa bAda te badhA potAnI mAtA sAthe mAMDaLamAM zA kAraNathI gayA? te vakhate A gAma tatkAlIna rAjendra pAchuM laI lIdhuM ke kAyama rAkhyuM hatuM evo prazna paNa udbhavI zake che. A hakIkatano koI paNa khulAso temanA caritrAtmaka graMthomAMthI maLato nathI eTaluM ja nahi, paNa A eNhAlaka gAma kayAM AvyuM te paNa jANavA sAdhana nathI. vastupAla-tejapAlanA eka prAcIna prabaMdhamAM vastupAlanA pitA AzarAja mAlasamudramAM vastra-kApaDanI dukAna calAvatA hatA evo ullekha maLe che. joke A graMtha ghaNo moDo, Azare cArasopAMcaso varSa pachI, lakhAyo che, paraMtu prAcIna prabaMdhakArI tema ja rAsAnA kavio, lokasamAjamAM pracalita hakIkatone khAsa potAnA kAvyamAM saMgrahI letA tethI, A hakIkatamAM paNa kAMIka tathya haze evuM anumAna karavAne avakAza rahe che. A "mAlasamudra " te pATaNa najadIka Azare 8thI 10 mAIla dUra aDiyA pAsenuM hAlanuM mAlasaMda nAmathI oLakhAtuM gAma che. somezvara vagere samakAlIna kavioe vastupAlane pATaNanA vatanI jaNAvI, temanA pUrvajone caulukyonA koI khAtAnA maMtrI tarIke jaNAvyA che temAM keTaloka satyAMza haze, paraMtu temanA pUrvaje pATaNamAM koI gAmaDAmAMthI AvI rahyA hoya tema lAge che. joke A saMbaMdhamAM te badhA sAhityakAroe mauna sevyuM che, paNa samAjamAM pracalita temanA Adi vatana mATenI mAnyatA teo gAmaDAnA nivAsI hatA ema sAbita kare che. AthI ja koImAM shAlakanA ke koImAM mAlasamadranA ullekho maLe che. A bemAMthI temanuM mULa nAma karyuM haze evo paNa prazna upasthita thAya. tenA mATe evuM bane ke, potAnA mULa gAma shAlakamAM vyApAra barAbara cAlato na hoya to AjubAjunA koI moTA gAmamAM-mAlasamudramAM te vyApAra arthe rahetA hoya. A eka anumAna che. prAcIna kALamAM mAlasamudra (hAlanuM mAlasuMda gAma) eka moTuM sArI evI vasati dharAvatuM gAma hatuM, jyAM jainonI paNa moTI vasati hatI ema keTalAka graMthonI pustaka-prazastio uparathI jANI zakAya che. AthI uparyukta saMhAlaka gAma mAlasamadra-mAlasaMda pAse hovAno tarka karI zakAya che. A mAlasuMda gAma hArIja tAlukAmAM aDiyA gAma pAse AveluM che, paraMtu tenI AjubAju koI saMhAlaka nAmanuM gAma nathI. ayiA najadIka Avela savALA gAma kadAca prAcIna saMhAlaka hoya tevuM mAruM anumAna che. Aje A gAma sevA-savALAthI jANItuM che. mAlasuMdathI phakta pAMcacha mAIla dUra A savALA gAma vastupAlanA pUrvajonuM saMhAlaka hoya ema mAnavA prere che. A gAmamAM vastupAle jaina maMdira baMdhAvyuM hatuM ema maladhArI narendraprabhasUriviracita eka prazastimAM noMdhyuM che, jenA AdhAre paNa A gAma temanA 3 mahAmAtya vastupAlanuM sAhityamaMDaLa, tathA saMskRta sAhityamAM teno phALo, pR. 35, lekhaka zrI bhogIlAla je. sAMDesarA. 4 jaina zvetAMbara kaoNnpharansa heralDa, sane 1915 vizeSAMkamAM "tapAgaccha paTTAvalImAM vastupAlacaritra". 5/1 sthApayan siMhulagrAmamaNDane jinavezmani / yaH zrIvIrajinaM vizvapramodamadajIvayat // 47 / / naredraprabhasUrikRta vastupAlaprazarita, vastupAla prazasti saMgraha, 50 26,

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puNyazloka vastupAlanA jIvana upara keTalAka prakAza : 97 pUrvajonuM Adi vatana haze ema mAnavA kAraNa che. A gAmamAM prAcIna che, ane tenI cAre bAju Aje dekhAtA UMcA TekarA te pUrvakALanuM haze evI pratIti Ape che. vastupAla jevA mahApuruSa, maMtrIzvara ane dAnavIra vidvAnanAM prazaMsAtmaka kAvyomAM, samakAlIna vidvAno, temanA pUrvajo gAmaDAnA rahevAsI hatA evI suka hakIkata na ja noMdhe e svAbhAvika che. - A sivAya bIjAM paNa keTalAMka pramANe evAM maLe che, je vastupAlanuM mukhya vatana gAmaDAmAM hatuM e hakIkatane puSTi Ape che. vastupAlanuM mULa vatana suhAlaka gAma hatuM ema mAnIe to temanA bIjA kuTuMbIjano ane sagAsaMbaMdhIo paNa tyAM rahetA haze ema mAnavAmAM vAMdho Avato nathI. vastupAlano putra jaitrasiMha yAne jayaMtasiMha hato, jenI noMdha somezvare kIrtikaumudImAM lIdhI che. A jaitrasiMhane traNa strIo hatI ema Abu upara AvelA lUNasahinA lekha uparathI jANavA maLe che. A sivAya A maMdiranI hastizALAmAM vastupALanA kuTuMbIjanonI je mUrtio che temAM jaitrasiMhanI sAthe tenI traNe patnInI mUrtio paNa besArelI che, jenAM anukrame jayataladevI, jammaNadevI ane rUpAdevI nAmo tenI nIce kotaryo che. jayaMtasiMhanI traNa patnIonA zreyArthe maMdiramAM devakulikAo banAvI che, jenA zilAlekhamAMthI jayaMtasiMha-jaitrasiMhanI patnIonAM jayataladevI, suhAdevI ane rUpAdevI nAmo maLyAM che, paNa jammaNadevInuM nAma maLatuM nathI. AthI jamaNudevInuM apara nAma suhAdevI haze ema lAge che. vastupAlanA prAcIna vatana suhAlakanI yAne savALAnI AjubAju je gAmo AvelAM che te paikI keTalAMka gAmonAM nAma dhyAna kheMce tevAM che. AmAMnA jamaNapura, rUpapura, caMdronmAnapura vagere nAmo vastupALanAM kuTuMbIjanonAM nAma sAthe keTaluMka sAmya sUcave che. jemake jammaNadevI uparathI jammaNapura, rUpAdevInA nAma uparathI rUpapura ane vastupAlanA Adi puruSa caMDapa ke caMdraprasAdanA nAma uparathI caMdronmAnapura. AthI ema samajI zakAya che ke vastupAle ke tenA vaMzajoe, potAnA kauTuMbika vyaktionA smaraNArthe, navAM gAmo vasAvI A nAmo rAkhyAM hoya. A paikInuM caMdronmAnapura te ja hAlanuM caMdrabhANuM gAma saMhAlaka ke savALAthI phakta betraNa gAu dUra Avela che; jyAre jammaNapura ane rUpapura savALAthI pAMcacha gAunA pheramAM Avela hoI, te paNa najadIkamAM ja gaNI zakAya. A lNe vasAvyAM, tema ja teno AvAM nAmo koNe rAkhyo, teno sIdhesIdho koI aitihAsika purAvo maLato nathI, paraMtu tatkAlIna samAjavyavasthA ane prAcIna paraMparAne anulakSI AvuM anumAna rajU karavAno prayatna karyo che. madhyakALamAM samAjanA agragaNya mahAjano, rAjapuruSo ane rAjAo potAnI pratiSThA ane smArako racavA vAva, kUvA, talAva, gAma, maMdiro, mahollA vagerene AvAM nAmo ApI, temanI kIti sthira-pratiSThita karatA hatA. A ja vastune lakSamAM laI uparyukta anumAna karyuM che, je yogya sthAne ane samayAnurUpa che. Ama vastupAlanA pUrvajonuM AdisthAna pATaNa tAlukAnA nAnA gAmaDAmAM hatuM, jyAMthI teo potAnI vidvatA, dAnazaratA ane parAkrama tema ja vyavahArakuzaLatAne laI caulukyonA rAjayakALe sArA hoddAo prApta karI, pATaNamAM AvI vaselA tema ja sAruM sthAna prApta karIne potAnI sarvodaya sAdhyo. bIjI vAta temanA kauTuMbika jIvananI che. temanA pUrvajonAM nAma kIrtikomudI, surathotsava, sukRtasaMkIrtana, vasaMtavilAsa vagere kAvyagraMthomAMthI maLe che. paraMtu temanA kuTuMbanI vizeSa hakIkata jinaha 1/2 kIrtikaumudI, sarga 3 zlo0 40thI 50. 6 abuMda prAcIna jaina lekha saMdoha. lekha naM0 368, 370, 37ra. 7 eNjana. hastizALAnA lekho naM. 320. 8 juo devakulikAo naM. 45, 46, 47nA zilAlekho. su graha 7

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98 : zrI mahAvIra jana vidyAlaya suvaNamahotsava prastha potAnA vastupAlacaritamAM vistArathI ApI che temAMthI, ane Abu upara vastupAle baMdhAvela temanA kIrtistaMbha jevA bhavya jinAlaya lUNavasati prasAdanA zilAlekhamAMthI, temano vaMzavistAra darekanA nAma sAthe maLe che; jenA AdhAre temanAM kauTuMbika janonuM vaMzavRkSa taiyAra karI zakAya tema che. itihAsapremI zAMtamUrti sva. jayaMtavijayajI mahArAje "abuMda prAcIna jaina lekha saMdoha" nAmaka graMthamAM AvuM eka vaMzavRkSa raju karyuM che. vastupAlane laNiga, maladeva ane tejapALa nAme traNa bhAIo hatA. te paikI luNiga bAlyAvasthAmAM ja maraNa pAmelo. temane jadu, mAu, sAu, dhanadevI, sohagA, vajukA ane padmaladevI nAme sAta baheno hatI. vastupAlanA bhAI luNiga. tenI patnI lUNadevI. malladevane be strIo- lIlAdevI tathA pratApadevI-hovAnA ullekho maLe che. vastupAlanI paNa be strIo, te paikI eka lalitAdevI tathA bIjI vejaladevI yAne sokhakA jaNAvI che. lalitAdevInA pitAnuM nAma kAnhaDa ane mAtAnuM nAma rANa. tejapAlane be patnIo : anupamAdevI ane suhaDAdevI. suhAdevInA pitA pATaNanA vatanI moTuM vANiyA jhAlahaNa. temanI patnI ASA. anupamAnA pitA caMdrAvatInivAsI gAgAnA putra dharaNIga. temanI trI tribhuvanadevI. mAladevane lIlAdevIthI putra thayo te pUrNasiMha. tenI patnI AhUNadevI. tene pethaDa nAme putra hato. mAladevane be putrIo: sahajalade ane sadamalade. vastupAlane lalitAdevIthI jaitrasiMha nAmano putra thayo, je jayaMtasiMha tarIke vikhyAta banyo. tene traNa strIo : jayatalade, jammaNade ane rUpAMde. caitrasiMhane pratApasiMha nAme putra hato. tejapAlane anupamAdevIthI putra thayo. tenuM nAma lUNasiMha ke lAvaNyasiMha. tene be strIo: rayaNAde ane lakhamade. A lAvaNyasiMhane raNAdevIthI gaurede nAmanI putrI hatI. tejapAlane bIjI strI suhaDAdevIthI suhasiMha nAmano putra hato, jene suhaDade ane salakhaNade nAme patnIo hovAnuM jaNAvyuM che. tejapAlanA pautra pethaDane valAlade nAmaka kanyA hovAnI noMdha maLe che. zilAlekho ane saMskRta kAvyo sivAya pATaNanA kAlikA mAtAjInA maMdiramAM be staMbho che te paikI ekamAM caMDaprasAdasuta soma ane bIjAmAM pUnasiMhasuta AhaNadevIkukSibhUH pethaDanA nAmo kotarela che. A baMne lekho saMvata 1284mAM lakhAyA hoI te vastupAle baMdhAvela koI mahAprasAdanA hovAnuM samajAya che. A pethaDa pachI tenA vaMzanI koI hakIkata maLatI nathI, paraMtu pATaNanA prAcIna govardhananAthajI-giridhArIthI oLakhAtA vaiSNavonA maMdiramAM yakSanI eka suMdara dhAtupratimA che. A pratimAnI pIThikAmAM saMvata 135ranA kArtika suda 11 guvArano eka pratimAlekha kotarela che, jemAM pethaDasuta sahake A mUrti karAvyAnuM sUcavyuM che. A lekhamAM pathaDanA pitAnuM nAma jaNAvyuM nathI, eTale te tejapAlanA pautra pethaDanI haze ke kema te cokkasa kahI zakAya nahi. paraMtu A pratimAlekha vastupAlanA vaMzaja pethaDane samakAlIna hovAthI tejapAlanA pautra pethaDe potAnA ghara-derAsaramAM pUjavA A pratimA karAvI hovAnuM anumAna che. vastupAlanA pitA, pitAmaha vagere caulukyonA rAjakALamAM maMtrIo hovAnuM saMskRta kAvyomAM jaNAvyuM che, paraMtu te badhA koI mahattvanA sthAna upara adhikArI hatA ke kema tenA vize vistRpAlanI kAtigAthA varNavatA koI kAvyamAMthI ke bIjA koI etihAsika graMthomAMthI ulekho maLatA nathI. AthI caritranAyakanuM mahatva rajU karavA tatkAlIna kavivaroe AvAM alaMkArika varNano mUkyAM hoya te svAbhAvika che. vastupAlanA pitA AzarAje kumAradevI sAthe saMbaMdha thatAM, pATaNa choDI mAMDaLamAM nivAsa karyo hovAnuM pAchaLanA graMthakAroe noMdhyuM che. te kALamAM vANiyA-brAhmaNa jevA samAjanA ucca staramAM punavivAha karavo te eka moTuM kalaMka gaNAtuM. AthI ja AzarAjane sthaLAMtara karavAnI pharaja paDelI. Ama te yugamAM naitika cAritrya mATe samAjamAM ghaNuM ja kaDaka niyamana paLAtuM haze evuM A hakIkatathI jANavA maLe che. 9 prAcIna jaina lekha saMdAha : Abu, bhAga 2, 50. 401.

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puNyazloka vastupAlanA jIvana upara keTalAka prakAza : 99 vastupAla jainadharmanA custa upAsaka bhakata hovA chatAM, te sarva dharma pratye prema ane mAnanI apUrva lAgaNIo sevatA. te kALamAM kadAca jaina ane mAhezvarIonA saMgharSo thatA haze, paraMtu sajajano ane vicAraka jainajetaromAM khAsa karatA vartAtI nahi hoya. AthI ja jainonI kanyAo mAhezvarIomAM ane mAhezvarIonI kanyAo jene saMpradAyavALA zreSThIonAM gharamAM ApavA-levAnI prathA paraMparAgata cAlatI hovAnuM keTalAMka prabaMdhAtmaka sAdhano uparathI jANavA maLe che. keTalAMka kuTuMbomAM to eka gharamAM jaina ane mAhezvarI saMpradAyo judA judA bhAIo pALatA ema zAha AbhaDanA caritra uparathI samajAya che. 10 vastupAla dareka dharma pratye sadabhAva ane prema rAkhatA hatA. chatAM keTalAka asI mAnavone te pasaMda nahi hoya ema purAtana prabaMdhasaMgrahanA eka prasaMga uparathI jANavA maLe che.?? A prasaMga A pramANe che : "eka vakhata maMtrIkavarane ghera vijayasenasUri gayA. te vakhate vastupAla uparanA mALe keTalAka vidvAne sAthe sAhityacarcA karatA hatA. gharamAM temanI mAtAe sUrijIno satkAra kayAM ane vAMdyA, sUrijI tyAM thoDoka vakhata beThA, paNa maMtrIzvara vaMdana karavA AvyA nahiM tethI temane hRdayamAM kSobha thayo. vastupAlanI mAtAe sUrijI AvyAnA samAcAra ApyA ke turata ja maMtrIkavare AvI vaMdana karyuM. sUrijI kAMI bolyA nahi tethI varatRpAlane lAgyuM ke, munizrIne mAThuM lAgyuM che. maMtrIzvare pharIthI vaMdana karI samAcAra pUchagyA eTale sUrijI hRdayanI samagra chA5 rajU karatAM bolyA ke, huM AzarAja jevA custa jaina zreNInuM makAna samajI ahIM Avyo hato, paNa mane koI uzRMkhala, maghapInuM ghara lAgyuM. vastupAle pUchyuM : zAthI? sUrijIe kahyuM: keTalA samayathI gharamAM Avyo hovA chatAM, tamo vaMTha janothI vIMTaLAI vAgvilAsa karavAmAM namaskAra karavA paNa AvI zakatA nathI. vastupAle kSamA mAgI, AthI sUrijIe mithyA vAgvilAsa choDI devA sUcavyuM." A hakIkata tatkAlIna pracalita keTalAka custa dharmavAdIonI asahiSNutA sUcave che. paraMtu vastupAlanI pAse jaina tema ja jainetara vidvAnono moTo samUha tenA vidyAmaMDaLamAM hato; jemanI sAthe teo dararoja sAhityagoSTI karatA ane sAthesAthe zAstro , sAhityaka graMthonuM avagAhana, tema ja nUtana sarjana-saMzodhana karAvatA. lokasamAjamAM paNa jaina jainetara pratye samabhAva rAkhI darekanA utsavo, yajJo ane dharmakAryomAM ekarasa banI bhAga letA. zaMkhaparAjaya pachI khaMbhAtanA parijanoe karela vijayotsava, je ekallavIrAmAtAjInA maMdiramAM karyo hato, tenuM bhAvavAhI varNana kItikaumudImAMthI maLe che. temAM vastupAle nagarajano sAthe ekalavIrAmAtAnA darzane jaI te mahotsava bhAvapUrvaka ujavyo hovAnuM suMdara varNana che. Ama maMtrIzvara vastupAla dareka saMpradAyanA utsavomAM rasapUrvaka bhAga letA hovAnA ullekho maLe che eTaluM ja nahi, paNa teo dareka dharmavALAne zakya te madada karatA hatA tenI noMdha temanA caritrAtmaka graMthomAM levAI che. jaina dharma pratye temano apUrva bhakitabhAva hato ja, paraMtu anya dharmo pratye paNa temaNe khUba prema ane rasa dAkhavyo hovAnuM temanA vividha dharmakAryo sUcave che. temanI sarvadharma pratyenI samabhAvanA ane udAratA mATe kavivara somezvare jaNAvyuM che ke, "nemi bhagavAnamAM apUrva bhaktibhAvavALA vastupAle, zaMkara ane kezavanuM phakta pUjana karyuM nahatuM, paNa jaina chatAM vedadharmavALAne paNa te dAnanAM pANu Ape che."13 A sivAya temaNe karela dharmakAryonI 10 Kavyanusasana, 1st Ed.-Introduction. Page 228, By Rasiklal Parikh. purAtanaprabaMdhasaMgraha, pR. 33. 11 purAtanaprabaMdhasaMgraha, pR0 55. 12 kIrtikaumudI, sarga 6. 13 nAnaca bhaktimAnnemau nemI shNkrkeshvii| jaino'pi yaH sa vedAnAM dAnAmbhaH kurute kare // kItikaumudI, sarga 4-40.

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100: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha sUci uparathI paNa te hakIktane puSTi maLe che, jenI yathAlabhya noMdha atre rajU karavAmAM AvI che. jainasaMpradAyamAM to temaNe lAkho-karoDonAM dAna karI, devamaMdiro, jena utsavo, jainAcAryonA dharmotsavo, vAvo. kavAo. talAvo tema ja devapratiSThAo vagere pUrNa bhaktibhAve karI. cha hAthe potAnI lakSmI vAparI hovAnA saMkhyAbaMdha varNano, prazaritao, prabaMdho, rAsAo ane zilAlekhomAMthI maLe che. ahIM to temaNe jainetara dharmo pratye sabhAvanAthI karela dharmakAryonI noMdha, temanI sArvatrika dharmabhAvanA darzAvavA rajU karavAnI hovAthI, jaina saMpradAyanAM sukRta kAryonA ullekho ApyA nathI. vastupAlanAM dAnakAryo phakta gujarAta pUratAM ja maryAdita na hatAM, paNa sArAe bhAratanAM aneka tIrthomAM temaNe dAnano pravAha vahevarAvyo hato. dAnano A pravAha dakSiNamAM zrIla, pazcimamAM prabha uttaramAM kedAra ane pUrvamAM kAzI sudhI phelAyo hovAnuM samajAya che. somanAtha mahAdevanA maMdirane dara varSe dasa lAkha, kAzImAM vizvanAthane eka lAkha; tevI ja rIte dvArikA, prayAgarAja, gaMgAtIrtha ane Abu upara acalezvarane eka lAkha dara varSe ApavAmAM AvatA hovAnuM jaNAvela che. jo ke AmAM kadAca atizayokti haze, chatAM, temanA taraphathI A badhAM prasiddha maMdirone thoDIghaNI madada ApavAmAM AvatI haze ema cokakasa lAge che. temanAM satkAryonI noMdha saMkhyAbaMdha graMthomAMthI maLe che, paraMtu keTalAke to ekabIjAne anukaraNa karyuM hoya tema keTalAka gujarAtI rAsAo uparathI jaNAya che; jyAre prAcIna kAvyomAM je je noMdho levAmAM AvI che te tatkAlIna samAjamAM pracalita mAnyatAo tema ja aitihAsika ulekho- jevA ke zilAlekho, prazastio vagerenA AdhAre levAmAM AvI che. A noMdhamAM jainetara vidvAnonA ullekha karatAM, jaina vidvAnoe Apela jainetara satkAryonI sUci khAsa ApavA prayatna karyo che. tIrthaka95 temanA satkAryo mATe jaNAve che ke teNe 700 brahmazAlA, 700 satrAgAra, 700 tapasvI tathA kApAlikonA bhaThI, 3002 mahezvarAyatano-zivamaMdiro tathA 500 vedapAThI brAhmaNane (nirvAhanAM sAdhano vaDe) satkAryA hatA. A sivAya temaNe 84 talAvo, 464thI paNa vizeSa vAvo, 32 pASANapathadu ane 64 masjido paNa baMdhAvI hatI. tIrthakalpanI A sUci kadAca atizayoktivALI haze, chatAM jinaprabhasUri jevA ItihAsapremI vidvAnanA hAthe levAyela A hakIkatamAM keTalIka satyatA haze ema mAnavAmAM vAMdho Avato nathI. koI jainetara vidvAne AvI noMdha ApI hota to, kevaLa pakSapAtathI vastupAlane potAnA saMpradAya upara vadhu anurAga hovAnA kAraNe teNe AvuM sUcavyuM hoya tema mAnI zakAya; paraMtu jaina vidvAno vastupAle karela anya dharmanAM ATalAM badhAM dharmakAryonI hakIkta rajU kare te vastupAlanI sarva dharma pratyenI samabhAvanAno apratima purAvo che. A ja pramANe bIjA paNa keTalAka jaina vidvAnoe racela vastupAlanA caritrAmaka graMtho paikI alaMkAramahodadhi, vastupAlaprazasti, vastupAlacaritra, vasaMtavilAsa, sukRtakIrti kallolinI, sutasaMkIrtana vagere jANItA aitihAsika graMtho maLe che, jemAM temaNe karela jenetara satkarmonI ThIkaThIka yAdI ApI che. A yAdImAM mukhya mukhya kAryo nIce pramANe gaNAvI zakAya ? vastupAle khaMbhAtamAM bhImezvaranA maMdira upara suvarNakalazo caDAvyA tema ja vRSabha-naMdinI sthApanA karI. bhaTTAditya nAmaka sUryamaMdira pAse uttAnapaTTa Ubho karyo ane tene suvarNahAra caDhAvyo. bhaTTArkavAhaka nAme vanamaMdiramAM kUvo baMdhAvyo. bakulasvAmI sUryamaMdirano maMDapa baMdhAvyo. vaidyanAthanuM maMdira tathA maMDapano jIrNoddhAra karAvyo. chAza ane dahIM ApavA mATe maMDapikAo baMdhAvI. prapA-parabo mATenA AgAra-maMDapa karAvyA. bhaTTArkarANaka( sUryamaMdira)no jIrNoddhAra karAvyo. aMkevAliyA gAma pAse eka talAva baMdhAvyuM. pAlitANu najadIka potAnI patnIne zreyArthe lalitAsarovara karAvyuM. DabhoImAM vaidyanAthanA zivamaMdira uparathI mAlavAno rAjA suvarNakalazo laI gayo hato te badhA (kula ekavIsa) pharIthI mukAvyA tathA sUryanI

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puNyazloka vastupAlanA jIvana upara keTalAka prakAza H 101 pratimA padharAvI. dhoLakAmAM eka dharmazALA baMdhAvI. nIrIMdrA gAme boDA vAlinAthanuM maMdira karAvyuM. umAzava ane bedarakUpamAM prapA-parabanAM makAno UbhAM kya. khaMbhAtamAM bhImezvaradevanA maMdira pAse vaTasAvitrInuM maMdira baMdhAvyuM. kAsIMdrAmAM aMbAmAtAnuM maMdira karAvyuM. bhuvanapAlanuM zivamaMdira baMdhAvyuM, ane temAM daze dizAnA dikapAlonI pratiSThA karAvI. A maMdiranA paTAMgaNamAM eka devI maMdira paNa baMdhAvyuM. aMkevAliyA gAmamAM maladevanA zreyArthe eka zivamaMdira tathA prapA-paraba baMdhAvI. vasApathamAM bhavanAthane maMdirano jIrNoddhAra karAvyo, uparAMta kSetrapAlanA maMdirane kAlamegha tathA Azvina maMDaSo A mahApuruSe baMdhAvyA hatA. svayaMvara nAme eka bhavya vAva khaMbhAtamAM baMdhAvI, tyAM rAjagRha pAse ArasanI vRSabhaMDapikA, naMdino maMDapa be mALayukata suvarNakalazovALo karAvyo. aura ane revAnA saMgama pAse kAlakSetramAM rANA vIradhavalanA vIrezvaranuM maMdira baMdhAvyuM. kuMbhezvaratIrthamAM tapasvIo mATe sarvasAmagrIyukta pAMca maTha baMdhAvyA. gANezara gAmamAM gaNezvara devano maMDapa, tenI AgaLa toraNa ane daravAjo baMdhAvyo. khaMbhAta pAse nagarA gAmamAM jyAdityanA maMdiranI aMdara ratnAdevInI pratimA padharAvI. dvArikAnA yAtrALuo pAsethI je kara levAmAM Avato te mApha karAvyo. A uparAMta vastupAla jyAre yAtrArthe zatruMjaya, giranAra ane prabhAsa gayelA tyAre temaNe somanAthanuM pUjana karI priyamelaka tIrthamAM snAna tathA tulAdAna karI. brAhmaNone suvarNa tathA jhaverAtanAM dAno ApyAnI hakIkata vasaMtavilAsanA kartA bAlacaMdrasUrie ApI che. prabhAsanA zaivatIrthane temaNe daza hajAra kamponuM dAna ApyuM hovAnuM upadezataraMgiNIkAre noMdhyuM che.14 A sivAya pATaNamAM paNa temaNe AvAM aneka dharmakAryo karyo haze ema cokkasa lAge che. TUMkamAM vastupAle mATe karoDo rUpiyA kharca satata dAnapravAha vahevarAvyo hato, tevI ja rIte jainatara dhamaoNmAM paNa chUTA hAthe potAnI sallamI vAparI, sarvadharma pratyenI sArvatrika dharmabhAvanA vyakta karI hovAnuM samajAya che. purAtanaprabaMdhasaMgrahamAM temanI AvI sadbhAvanA vyakata karatAM jaNAvyuM che ke, "vastupAla bauddhomAM bauddha, vaiSNavomAM viSNubhakta, zivomAM zaiva, yogIomAM yogasAdhanavALA, jainomAM pUrNajinabhakta evA, sarva savo-devone pUjanArA, sarva devo)nI stuti kare che. 15 vastupAlanA jAhera jIvananI carcA karatA seMkaDo prabaMdho, kAvyo ane rAsAo racAyA che. paraMtu temanA vaiyaktika jIvanamAM DokiyuM karatAM keTalAka viziSTa guNanI pichAna thAya che eTaluM ja nahi, paNa temanuM Adivatana-gAma, temanA kuTuMbanI vyaktivizeSa vicAraNuM ane anya dharmo pratyenI sArvatrika sarvadharma bhAvanA-A badhuM A nibaMdha dvArA yathAlabhya pramANe dvArA carcavAno Acho ghero prayatna ahIM sAdhyo che; joke vidvAne sAhityakAroe A saMbaMdhI khAsa vivecanA karI nathI, paraMtu keTalAMka tihAsika pramANonA AdhAre temanA jIvananAM A badhAM pAsAMone sparza karavAnuM vicAryuM che. 14 upadezataraMgaNa, pR. 77. 15 thI vAto vaioviIrvakakumAra zI: vIvo vonifmAraH . nainaitAvInoveti kRtya | saravASA: sUyate vastupa : 2 purAtanaprabaMdhasaMgraha, pR. 68.

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zatruMjaya mAhAbhyanAM bhaugolika to amRta paMDyA pazcima bhAratanA ItihAsamAM valabhI (enuM navuM nAmakaraNa "vallabhIpura" khoTuM che. "valabhI' ane - "vallabhI" e baMne judA judA artho dharAvatA zabdo che. e "valabhIpura jaIe.) e rAjakIya tathA sAMskRtika e baMne rIte khAsa mahattva dharAvatuM nagara rahyuM che. e IcchI lagabhaga 50thI 766 sudhI maitraka vaMzanuM pATanagara rahyuM hatuM. ahIM aneka sAhityakAro thayA che ane pustako racAyAM che. "zatruMjayamAhAmya" lakhanAra zrIdhanezvarasUrinuM nAma paNa e badhAMmAM jANItuM che. e graMthamAM jaNAvyA pramANe vallabhI khAte saMvata 477mAM bauddhalokonI buddhine nirAzA upajAvanAra zrIcaMdragaththarUpI samudranI aMdara caMdramAM sarakhA ane jAgrata guNone dhAraNa karanAra zrIdhanezvarasUrie yAdavavaMzanA AbhUSaNaratna ane tIrthono uddhAra karanAra ahaMntabhakata zrI zilAdityarAjAnI bhalAmaNathI A zatruMjayamAhAbhya" lakhyuM hatuM. zatruMjayamAhAtmyane sadagata DaoN. bhagavAnalAla jI, ema. TI. jekasana (baoNmbe gejheTIara, graMtha prathama, bhAga 1, 1896, pR. 91) ane DaoN. gaurIzaMkara hIrAcaMda ojhAe (rAjaputAnekA itihAsa, graMtha prathama, pR. 385-9) eTalA mATe vakhoDI kADhayuM che ke emAM kumArapAla (I1143-74), vastupAla (I. 1184-1240) ane samarAzAha(samarasiMha ke jeNe I. 1315mAM zatruno uddhAra karelo)nAM nAmo Ave che tathA temAM purANonI zailIe bhaviSyamAM thaze te rIte keTalAka rAjAonI kArakirdI ApI che. paraMtu ethI karIne A prAcIna pustakanuM mahattva ochuM thatuM nathI. asala zatrujyamAhAmya saMvata 477mAM racAyuM ane AgaLa jatAM jema jema tenI navI nakalo thatI gaI tema tema temAM zatruMjayanA udArane lagatI tatkAlIna vigato umerAtI gaI tethI karI e graMtha aitihAsika mAhitInI daSTie binaupayogI che evuM e vidvAnonuM vidhAna khoTuM che. graMtha racyAno saMvata e "valabhI saMvat " rahyo hovo joIe kAraNake 477mAM valabhI khAte maitrakonuM rAjya nahotuM. A hisAbe e graMtha 477 + 319 (valabhI saMvata e gupta saMvatanI jema I. 319thI zarU thAya che) eTale ke I796mAM racAyeluM gaNAya. paNa emAM kayAMka gaDabaDa thaI che. valabhInuM patana zilAditya chaTTAnA samaye I 776mAM thayuM

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zatrujayamAhAbhyanAM bhaugolika tattva : 103 hatuM. AgaLa jatAM zatruMjayamAhAbhyanI lahiyAo dvArA nakalo thatAM mULa "valabhI saMvata'e vikrama saMvata rUpe lakhAya, vagere bhUlo thavA saMbhava che. maitraka vaMzanAM tAmrapatro tathA daMDInA dazakumAracarita, somadevanA kathAsaritsAgara, vagere prAcIna graMthomAM bhaugolika sthaLonAM nAmonAM je rUpo maLI Ave che te ja rUpa zatruMjayamAhAsyamAM paNa maLI Ave che, eTale asala graMtha maitrakakALamAM valabhI khAte I. 66 6thI 76 6 sudhImAM trIjA zilAdityathI sAtamA zilAditya sudhInA aneka zilAdityo thayelA temAMnA ekAdAnA samayamAM lakhAyo hovo joIe. zatruMjayamAhAmyanI vizeSatA e che ke emAM saurASTrane lagatI keTalIka evI prAcIna bhaugolika mAhitI maLI Ave che je bIjA koI graMthamAM maLI AvatI nathI, ethI prastuta lekhamAM ApaNe enI thoDIka noMdha laIzuM. purANonI bhaugolika mAhitInI jema kyAMka kyAMka emAM paNa kavacita visaMgati maLI Ave che, je svAbhAvika che. zatruMjayamAhAsyanA pahelA sargamAM siddhAcala (zatruMjaya) parathI dekhAtI nadIrUpe zatruMjayA, andI, nAgendrI, kapilA, yamalA, tAladhvajI, yakSAMgA, brAhmI, mAhezvarI, sAbhramatI, zabalA, varatoyA, jayaMtikA ane bhadrA A 14 nadIonAM nAma ApyAM che. zatruMjaya parathI dekhAtI nadIone bahAne lekhake saurASTra-gujarAtanI keTalIye nadIonAM nAmo ApyAM jaNAya che. zatruMjyA te zetruMjI che, paNa tAladhvajI nadI e jadI nathI, kAraNake taLAjA AgaLa paNa zetruMjI ja che. zakya che ke enA dariyAnA bhAgamAM zatruMjyA e tAladhvajI paNa kahevAtI hoya. sAbhramatI te sAbaramatI che. enuM prAcInatama nAma zvabhramatI' hatuM, paNa padama, skaMda, vagere purANomAM "sAbhramatI' nAma maLI Ave che. enTrI kaI te kahevAya nahi. mahInadInuM eka nAma mahendrI paNa hatuM, eTale zakaya che ke e mahInuM nAma hoya. kapilA e prabhAsanA triveNIsaMgama paikInI eka jaNAya che. brAhmI te haLavada najIkanI brAhmaNa hoI zake. prabhAsakSetramAM eka "mAhezvarI" hovAnuM skaMdapurANa(prabhAsakhaMDa, 4. 17-18)mAM jaNAvyuM che. jiyaMta (giranAra) parvatanuM eka nAma varAhapurANa, 85, 3mAM jayantA ApeluM che, eTale tyAMnI sonarekhA ke palAzavA hoI zake. varatIyA e bArADI pradezanI vartI hovI joIe. bhadrA e bhAdara che. bIjI nadIo nathI. e ja sargamAM AgaLa jatAM siddhAcalanA zatruMjaya. revatagiri. siddhikSetra, sutIrtharAja, DhaMka, kapardI, lauhitya, tAladhvaja ane kadaMbagiri ATalAM zikharo gaNAvyAM che. emAMnA revatagiri, TaMka tathA tAladhvaja e anukrame giranAra, DhAMkane DuMgara ane taLAjAnI TekarI che. kapardI, lauhitya ane kadaMbagiri oLakhAtAM nathI, paNa trIjA sargamAM zatruMjayAnI najIkamAM kadaMbagirinI sthiti batAvI che. zakaya che ke e sAnAno DuMgara hoya ke jyAM prAcIna guphAo che. pAMcamA sargamAM jaNAvyA pramANe bharata cakravartIe zatruMjaya najIka AnaMdapura nagara vasAveluM. A coTIlA najIkanuM AnaMdapura rahyuM haze. tyAM prAcIna maMdiro che. najIkamAM ja bharate mAnapura ane bharatapura nAme nagara vasAvelAM. e kyAM te kahI zakAya nahi. pachI giranAranuM varNana Ave che. emAM udayavaMtI, suvarNarekhA ane lIlA ATalI nadIo vahe che. suvarNarekhA e hAlanI sonarekhA ane udayavaMtI te ojhata hovI joIe. pachI bharatacakravatI giranAra parathI cAre bAjunuM dazya e che ane temane baraTa parvata dekhAya che. baTa parvata eTale baraDo. zatruMjayamAhAmya sivAya bIje kayAMya baraDAno ullekha nathI. grIka sAhityamAM bArnAkSImAnI noMdha ApI che. emAMthI nIkaLatI nadI varatroI(varata)nI noMdha saidhava tAmrapatromAM maLI Ave che. zatruMjayamAhAbhyamAM jaNAvyA pramANe baraTa nAmano eka duSTa vidyAdhara tyAM raheto hovAthI e parvata "baraTa' kahevAyo hato. sarga sAtamAmAM jaNAvyuM che ke paMDarIka parvata najIka hastisena nagaramAM koTi devIonA parivAravALI suhastinI nAmanI jainadharmavirodhI mithyAdRSTivALI devIo utpanna thaIne tAladhvaja M ) e

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104 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha vagere kSetrapAlone tAbe karI lIdhA. A hastisenanagara te pAlItANA najIkanuM hAthasaNI hoya ema lAge che ( hAthakha nahi, kAraNa ke enuM prAcIna nAma hastakavapra hatuM ). hAthasaNI prAcIna nagara hatuM ema tyAM AgaLa maLI AvelA maherarAjA DepakanA vi. saM0 1386nA eka zilAlekha parathI jANavA maLe che. AThamA sargamAM sagaracakravartInI vigatamAM teNe pazcima samudrane kAMThe jaI prabhAsapatine tAbe karyAMnI vAta Ave che ane AgaLa jatAM eno ullekha caMdraprabhAsa nAme paNa thAya che. najIkamAM caMdrakArtie vasAvelI zaziprabhA nagarInI noMdha paNa temAM ApI che. prabhAsa ke caMdraprabhAsa e prabhAsapATaNa che A vAta jANItI che. zaziprabhA nagarI oLakhAtI nathI. e ja sargamAM AgaLa peTanagarano ullekha che, je hAlanuM kheDA ( kheTaka ) hatuM. sarga navamAmAM sAketapura( ayodhyA )nA ajayapAla rAjAe zatruMjaya AvIne dvIpanagarane alaMkRta karyAMnI hakIkata ApI che. dvIpanagara eTale hAlanuM dIva. enuM prAcIna nAma mukhyatve dIpapattana maLI Ave che. zilAditya trIjAnA lusaDInA valabhI saMvata 385(I0669)nA tAmrapatramAM paNa e ja nAma maLI Ave che. AgaLa jatAM e sargamAM lakhyuM che ke TUMkA nagarImAM kauzalyAe zrIRSabhanAthanuM devaLa baMdhAvyuM hatuM. DhAMka khAte khIjA-trIjA saikAnI jaina pratimAo che, paNa have koI jaina maMdiranA avazeSo rahyA nathI. dazamA sargamAM lakhyuM che ke narmadA nadInA taTe bhRgukaccha (bharUca) hatuM. AgaLa jatAM giranAra najIka sugrAma AveluM hovAnI noMdha che. e kayuM gAma te samajAtuM nathI. pachI ariSTanemIe giranAranI taLeTImAM suradhAra vasAvyAno ullekha che. hAla e nAmanuM koI gAma tyAM nathI, paNa rAjakoTa najIkanuM saradhAra hoI zake. e agAu rAjakoTa rAjyanuM pATanagara hatuM. zatruMjayamAhAtmyamAM 'taLeTI ' zabda vizALa arthamAM vaparAyo che. sarca bAramAmAM jaNAvyA pramANe satyabhAmAno putra dvArakAthI zarasAI nagarI gayo hato. e giramAM Avela sarasI hoI zake. pachI zaMkhezvarano ullekha che, je jANItuM sthaLa che. e uttara gujarAtamAM AveluM hoI moTuM jainatIrtha che. zatruMjayamAhAtmyamAM saurASTrAdine lagatI maLI AvatI mAhitIno A prAthamika paricayamAtra che. A mAhitInA vizeSa abhyAsa uparAMta mahAbhArata, baudgha jAtako, jainAgamo, skaMdapurANAMtargata prabhAsa, vastrApatha, nAgarAdi khaMDo, zizupAlavadha, kathAsaritsAgara, vasudevahiMDI, prAcIna tIrthamAlAo tathA utkIrNa lekho vagere parathI saurASTranI prAcIna bhUgoLa taiyAra karavAmAM Ave to eka moTI khoTa purAya. zatruMjayamAhAtmyamAM bhaugolika mAhitI sivAya saurASTranA itihAsane lagatI keTalIka bIje nathI maLatI evI mAhitI ApI che; dA. ta., mahAbhArata kALanA yAdavo ane mauryo vaccenA gALAmAM tyAM kayA vaMzamAM koNe koNe rAjya kareluM tenI paNa keTalIka vigata rajU karI che.

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amadAvAdanI sthApanAno samaya amadAvAda zahera gujarAtanA trIjA sulatAna ahamadazAha pahelAe prAcIna AzApallI-karNAvatInI bAjumAM vasAveluM e hakIkata jANItI che, paraMtu eNe e zahera kyAre vasAveluM eno cokkasa samaya nakkI karavAmAM matabheda pravarte che. hariprasAda zAstrI kavi hulavI zirAjhIe ahamadazAhanA samayano itihAsa 'tArIkhe ahamadazAhI 'mAM lakhelo, ne e kavi, ahamadazAhanI lagabhaga samakAlIna hato evu jANavA maLe che. paraMtu A tihAsano Aje patto nathI. e graMtha phArasI padyamAM racAyo hato. emAMthI Azare ekso kheta * mirAte sikaMdarI 'mAM utAravAmAM AvI che, te 'mirAte ahamadI 'mAM puravaNImAM apAyelA amadAvAdanA varNanamAM paNa emAMthI keTalIka kheta rajU karavAmAM AvI che. e eto parathI mAlUma paDe che ke ahamadazAhe najuma(jyotiSa)nA jANakAro pAse gaNita karAvI zaheranI sthApanAnuM zubha murta kaDhAvyuM hatuM ne e muhUrta hijarI sana 813nA jhulakAda mahinAmAM Avyu hatuM.? AmAM tArIkha ApavAmAM AvI nathI. hi sa0 813no e mahino I. sa0 1411nA phebruArI-mArcamAM Avato hato. << e pachIno ullekha zrIrAkuMnayatIyanApravanya(lagabhaga I. sa0 1530)mAM maLe che. emAM saMvat 2468 varSe vairAla vi 7 vau puSye addImanAvAya sthApanA ! " evuM noMdheluM che. arthAta A ullekha anusAra amadAvAdanI sthApanA saMvata 1468nA vaizAkha vide 7ne ravivAre thaI hatI. paraMtu e divase puSya nakSatra hovAnuM jaNAveluM che te parathI A tithi vaizAkha vade cha nahi, paNa vaizAkha suda cha hovI joI e evuM mAlUma paDe che. AthI prastuta prabandhanI pratamAM sudi 'ne badale ' hiMda'nI : ra 3 1 The Mirat-i-Ahmadi: Supplement (Trans. by Syed Nawab Ali and C. N. Seddon), pp. 4-5; ratnamaNirAva bhImarAva, gujarAtanuM pATanagara : amadAvAda, pR0 55-56, saM muni jinavijayajI (1917), pR0 31. gujarAtanA rAjAonI jUnI vaMzAvaLImAM saMvata 1468nA vaizAkha suda 7 ravivAra puSyanakSatranI miti jaNAvelI che, te parathI A anumAnane samarthana maLe che.

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101 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha saratacUka thaI gaNAya. trAdi varSanI paddhati anusAra vikrama saMvata 1468nA vaizAkha sudi sAtamane divase ravivAre nahi, paNa guruvAra hato. varSa citrAdine badale kAtikAdi gaNIe, to e divase ravivAra hoI zake kharo, paraMtu caitrAdi saM. 1468nI e tithie hijarI sana 813nA jhilakAda (arthAta 11mA) mahinAne badale hi. sa. 814no mahorama (1lo) mahino Ave ane kAtikAdi saM. 1468nI mitie to hiTa sa. 815no mahorama mahino Ave! Ama saM. 1468nI miti sAthe hi. sa. 813nA jhilakAda mahinAno meLa maLato nathI. amadAvAdanI sthApanA pachI lagabhaga baso varSe lakhAyela "mirAte sikaMdarImAM hi0 sa813mAM zaheranI sthApanA thaI hovAnuM ane gaDhanuM bAMdhakAma hiTa sa0 816(I. sa. 1413-14)mAM pUruM thayuM hovAnuM jaNAveluM che. A kitAbamAM kavi hulavInI beto utArelI che. tArIkhe phiristA, je lagabhaga e ja samayamAM lakhAI hatI, temAM A banAva hi0 sa. 815nA AkharamAM (arthAta I. sa. 1413mAM) banyo hovAnuM jaNAvyuM che. A samaya gaDhanuM bAMdhakAma pUruM thayAno hoI zake. "AIne akabarI," je paNa lagabhaga e samaye lakhAI hatI, temAM hi0 sa. 813nA jhilakAda mahinAnI 7mI tArIkha ApI che. e divase Isa. 1411nA mArcanI 3jI tArIkha hatI. I. sa. 1761mAM (arthAta amadAvAdanI sthApanA pachI 35 varSe) pUrI thayela "mirAte ahamadI mAM amadAvAdanI sthApanAno vigatavAra samaya ApavAmAM Avyo che. emAM hijarI sana 413nA jhulakAda mahinAnI 3jI tArIkha, saMvata 1449 ane zaka 1314nA vaizAkha suda pAMcamanI miti ane sUryodayAta 15 ghaDI ane 35 paLano samaya jaNAvelo che ne e samayanA grahonI kuMDaLI paNa ApI che. AmAM vikrama saMvata 1449 (citrAdi) ane zaka varSa 1314no paraspara meLa maLe che, paraMtu e varSanI vaizAkha suda pAMcame guruvAra nahi paNa zanivAra Ave che, 11 kArtikAdi vikrama saMvata 144tmAM e divase guravAra Ave kharo, paraMtu to zaka varSa 1914ne badale 1315 thaI jAya. AthI ye vadhu 4 I. sa. 1411nA eNprilanI 30mI. 5 I. sa. 1412nA eNprilanI 17mI. 6 guja0 bhASAMtara-AtmArAma motIrAma dIvAnajI (1914), pR. 23-24. Eng. Trans. by Blochman, Vol. I, p. 507 n. 8 hijarI tArIkha sAthe vAra Apelo nathI. banatAM sudhI maMgaLavAra haze. 9 Supplement, pp. 2-3 kuMDaLI A pramANe che : 4 caM / 10 11 tA. 27-4-1392. tA. 17-4-1393.

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amadAvAdanI sthApanAnA samaya H 107 gaMbhIra vAMdho e Ave che ke hijarI sana 813nI miti I. sa. 1411mAM Ave che, jyAre zaka 1314nI miti I. sa. 1792mAM Ave che. A 18 varSano phera ghaNo moTo gaNAya. gujarAtanA sulatAnonI tavArIkha te te vakhate lakhAtI rahetI ne emAM sulatAnanA rAjyArohaNa jevA dareka mahattvanA banAvanI cokkasa tArIkha noMdhavAmAM AvatI. A anusAra ahamadAbAda vasAvanAra ahamadazAha hijarI sana 413nA ramajAna mahinAnI 14mI tArIkhe arthAta I. sa. 1411nA jAnyuArInI 10mI tArIkhe takhtanazIna thayo hato. AthI eNe e agAu 19 varSa pahelAM zahera vasAvyuM saMbhavatuM nathI. AthI saMvata 1449 zaka 1314nuM varSa samULaguM asaMbhavita kare che; hijarI sana 413nI sAla ja vicAraNIya che. "mirAte ahamadI'mAM ApelI kuMDaLI pramANe vaDodarAnA zrI ApaTee enA phalAdezanI anukuLa noMdha lakhI che, paraMtu grahagaNitanI daSTie e kuMDalIne tapAsatAM e zaka 1314(I. sa. 1392)nA prayogo sAthe baMdha besatI nathI eTaluM ja nahi, hijarI sana 413(Isa1411)nA prayogo sAthe paNa eno meLa maLe ema nathI.14 AthI vikama-zaka varSa tema ja kuMDaLI e baMne kapolakalpita hovAnuM phalita thAya che. zrI girijAzaMkara jozIe emanA kulanI prAcIna anuzrutimAM maLelo je zloka jaNavyo che temAM paNa saMvata 1449nI vaizAkha suda pAMcama ne guruvAranI miti ApI che, paraMtu upara jaNAvyA mujaba e miti samULI asvIkArya che. zrI girijAzaMkara jozI pote paNa e mitine pramANabhUta gaNatA nathI. AthI zrI girijAzaMkara jozIe vaizAkha suda pAMcama ne guruvAranI miti zaka 1333 I. sa. 1412nI gaNIne navesara kuMDaLI banAvelI che, je "mirAte ahamadI mAMnI kuMDaLIne ghaNe aMze maLatI Ave che. emAM lagna, caMdra, guru, zani, rAhu, ketu, sUrya eka rAzinA che; maMgaLa, budha ane zukranI rAzi 12 ahIM 1468ne badale 1449nI lahiyAne hAthe saratacUka thaI hovAnuM dhArI zakAya, paraMtu zrI girijAzaMkara jozIe TAMkelA Anuzrutika zlokamAM zabdomAM jaNAvela saMkhyA paNa nizcita rIte 1449 ApelI che (juo nIce noMdha 15). 13 Mirat-i-Ahmadi, Supplement, Appendix II (pp. 215-22). 14 e baMne varSamAM rAhu mIna rAzimAM hato, jyAre AmAM ene kanyA rAzino kahyo che. zani ane guru jevA maMda gatinA graha paNa e varSomAM ApelI rAzimAM hovAno lezamAtra saMbhava nathI (juo nIce noMdha 24). e varSomAM A graho kaI rAzimAM hatA ene lagatuM gaNita mutra zrI hariharabhAI bhaTTe mane A kAma mATe gaNI ApyuM che, jene mATe huM temano AbhArI chuM. 15 saMvat naMdakRtendrakaiH parimite mAse site mAdhave paJcamyAM guruvAsare dinadale RkSe ca puSyAbhidhe / nAthenAtha sumANikena manasA dattaM muhUrta yadi (dA) zrIpAtzAha-suejhadena amadAvAdaM tadA kAritam // [ zaMkararAya amRtarAya, amadAvAdanI jIvanavikAsa'; ratnamaNirAva bhImarAva, gujarAtanuM pATanagara : amadAvAda, 50 25-26 ] 16 e kuMDaLI A pramANe che : 2 bu

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108 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha judI paDe che. zrI ratnamaNirAvanA mata mujaba A kuMDaLIno phalAdeza "mirAte ahamadImAMnI kuMDaLInA phalAdeza karatAM amadAvAdanI kArakirdIne vadhAre sArI rIte lAgu paDe che. 17 paraMtu A miti tathA kuMDaLInI cokasAI karatAM, e baMne zaMkAspada Thare che. zaka 1333nI vaizAkha suda pAMcame maMgaLavAra hato ne tyAre I. sa. 1411nI sAla cAlatI, jyAre I. sa. 1412mAM e tithie zanivAra hato ne zaka varSa 1334 hatuM. AthI e mitimAM zaka varSa ane IsvI sanano tema ja tithi ane vArano meLa maLato nathI. evI rIte e varSonA pradyogomAM zani, guru ane rAhu jevA maMda gatinA graho paNa ApelI rAzi pramANe bilakula baMdhabesatA nathI. - amadAvAdanI vaMzAvaLImAM ahamadazAhe vi. saM. 1451mAM amadAvAda vasAvI 1458mAM enuM vAstu karyuM ema jaNAvyuM che. paraMtu ahamadazAha saM. 1467( I. sa. 1411)mAM takhtanazIna thayo hoIe varSo saMbhavita nathI. e ja granthamAM gujarAtanA rAjAonI vaMzAvaLImAM ahamadazAhe saMvata 148nI vaizAkha sudi 7 ne ravivAre puSya nakSatramAM prathama praharamAM amadAvAda vasAvyuM evuM jaNAvyuM che. 19 A miti zatruMjayatIrthoddhAra prabandhamAM jaNAvelI miti sAthe maLatI Ave che. paraMtu agAu jaNAvyA mujaba tithi, vAra ane hijarI sanano meLa maLe nahi. zrI hariharabhAI bhaTTa amadAvAdanI sthApanAnA divasa vize vicAra karatAM, "mirAte ahamadImAM jaNAvilI saMvata 1449 zaka 1314nI mitine, e samaye hi.sa. 795 hoI, asaMbhavita mAnI, temAM jaNAvelI hi. sa. 813nI sAlane ja pramANabhUta gaNI che.ra0 hijarI sananI tArIkha sAthe vArano meLa tapAsatAM, temaNe kharI tArIkha likAda mahinAnI trIjI nahi, paNa bIjI hovAnuM pratipAdita karyuM che. e divase saM. 1467ne zaka 1332nI phAgaNa suda 3 ane I. sa. 1411nA phebruArInI 26mI tArIkha Ave che. e divase zaheranI sthApanA sUryodayAta ghaDI 15 paLa 35 samaye thaI gaNIne e parathI zrI phaNasee enI kuMDaLI taiyAra karI che . e samaye ketakI pramANe ayanAMza 15deg 40' hatA. zrI ratna 17 gujarAtanuM pATanagaraH amadAvAda, pR. 785-87. zrI ratnamaNirAva "mirAte ahamadI'nI kuMDaLImAM trIjA bhAvamAM ketu ane navamA bhAvamAM rAhu hovAnuM jaNAve che, jayAre zrI Apake emAM rAhu trIjAmAM ane ketu navamAmAM hovAnuM jaNAve che. maLa kuMDaLI jotAM AmAM zrI ratnamaNirAvanI saratacaka thaI lAge che; kharI rIte zrI ApaTeno anuvAda barAbara che. zrI girijAzaMkare banAvelI kuMDaLImAM paNa rAhu-ketunAM sthAna e pramANe Ave che. 18 phorbasa sabhAnAM hastalikhita pustakonI yAdI, pR0 254, 19 eNjana, 50 51- para. 20 jyotiSadarzana, varSa 2, aMka 10-11 (oNkaTobara-navembara, 1551), "amadAvAnI sthApanAno divasa' (pR. 19-20) 21 kuMDaLI A pramANe che: sAyana * nirayana * ne 3 pleTa 2 - - nI. 1. ko - - ne ( sarakArI jakAtanAka 12. - - > 11 bu - - 11 ha STROMY * sU ra ma bu

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amadAvAdanI sthApanAno samaya : 109 maNirAve A navI nirayana kuMDalInA prayogonA phalAdezano vicAra karatAM noMdhyuM che ke e phalAdeza amadAvAdanI vRtta kArakirdIne barAbara lAgu paDato nathI. zrI dinakara phaNasee A samayanI sAyana kuMDaLI pramANe phalAdeza vicAryo che, te paNa ene barAbara lAgu paDato nathI. 23 phalajyotiSanI aTapaTI bAbatone bAjue rAkhIe to paNa muhUrtazAstranI dRSTie ya A kuMDaLI vicitra hovAnuM mAlUma paDe che. "tArIkhe ahamadazAhIno kartA hulavI zirAjhI spaSTa jaNAve che ke ahamadazAhe AkAzanuM gaNita jANanArA ane agamanigama jANanArAone bolAvI zaheranI sthApanAnuM zubha mUhUrta kaDhAvyuM hatuM. mANasanA janmano samaya ApaNuM hAthamAM hoto nathI, paraMtu navA zaheranI sthApanA kyAre karavI e te ApaNA hAthanI vAta che. AthI, bAdazAhe jyAre jyotiSIo pAse sthApanAnuM murta kaDhAvyuM hatuM, tyAre e muhUrta muhUrtazAstranA niyamo anusAranuM hoya e taddana apekSita che. e dRSTie jotAM jhilakAda mAsamAM sUrya mIna rAzimAM hato. bhAratIya muhUrtazAstramAM AvA zubha kAma mATe hAla to mInAkano samaya niSiddha manAya che, paraMtu e mAnyatA ahIM paMdaramI sadInA AraMbhamAM pracalita hatI ke kema e nakkI kahevuM muzkela che. chatAM lagna, lagnAdhipati, sUrya, zani, rAhu ane zukra baLavAna na hoya evo divasa hiMdu yotiSIo bhAgye ja pasaMda kare e spaSTa che. 24 zrI ratnamaNirAva dhAre che tema A muhUrta muslima najamIoe kahyuM hoya, to temanI mudRrtazAstranI mAnyatAonI dRSTie paNa A prayoga tapAsavA rahe. phalajyotiSa tathA muhUrtazAstranI dRSTie game te hoya, to paNa zrI hariharabhAIe nakkI karelI mitine AdhAre zrI phaNase banAvelI kuMDaLI parathI eTaluM spaSTa thAya che ke "mirAte ahamadImAM jaNAvelI kuMDaLI tema ja zrI girijAzaMkara jozIe banAvelI kuMDaLI zani, rAhu ane guru jevA maMdagatinA grahonI bAbatamAM I. sa. 1411mAM ke tenI najIkanA koI bIjA varSamAM lAgu paDI zake tevI che ja nahi.26 zrI phaNase jaNAve che ke "mirAte ahamadI' vageremAM ApelI kuMDaLImAM je grahonI sthiti che, te AsapAsanAM ekaso varSanuM gaNita tapAsatAM paNa maLatI nathI. AthI grahagaNitanI cokakasa paddhati pramANe e baMne kuMDaLIo avAstavika ane azraya hovAnuM nizcita thAya che. AthI kuMDaLI, muhUrta ane phalAdezanI vAta paDatI mUkavI iSTa che. aitihAsika daSTie jotAM, tAtparya e nIkaLe che ke amadAvAdanI sthApanA mATe muslima tavArIkha pramANe hijarI sana 413nA jhilakAda mahinAnI bIjI tArIkha ane guruvAra (tA. 26mI phebruArI, I. sa. 1411) ane hiMdu anuzruti pramANe saMvata 146 8nI vaizAkha suda 7 ne ravivAra (tA. 17mI eprila I. sa. 1412) e be miti sahuthI vadhu saMbhavita hovAnuM phalita thAya che. e be prakAranAM sAdhanomAM salatanatano amala ane "tArIkhe ahamadazAhI nI samakAlInatA jotAM, amadAvAdanI sthApanA mATe hi saH 813(I. sa. 1411)nI miti vadhAre pramANabhUta gaNAya. 22 jyotiSadarzana, varSa 1, aMka 12 (navembara, 1950); "amadAvAda gujarAtanuM pATanagara" (50 64-68) 23 ratnamaNirAva, gujarAtano sAMskRtika ItihAsaH islAma yuga, khaMDa 2, 50 615-16. 24 eNjana, 1, pR. 610-15. 25 eNjana, pU. 611, noMdha 3. 26 trIsa varSe rAzi badalato zani I. sa. 1411mAM meSa rAzimAM hato, jyAre e be kuMDaLIomAM ene dhana rAzimAM jaNAvelo che; aDhAra varSe rAzi badalato rAhu tyAre mIna rAzimAM hato, jyAre ene e be kuMDaLIomAM kanyA rAzine kaho che; ne bAra varSe rAzi badalato guru tyAre siMha rAzimAM hato, jyAre ene e be kuMDaLIomAM vRzcika rAzimAM jaNAvyo che!

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110 : zrI mahAvIra jaina vidyAlaya suvarNamahatsava cantha to saMta 1468(I. sa. 1412)nI miti pAchaLa bIjI kaMI vAstavika bhUmikA rahelI haze kharI? ahamadazAhe amadAvAda zaheranI sthApanA rAjagaDhathI karI hatI ne e gaDha hi. sa. 815nA AkharamAM ke hi0 sa816(nA AraMbha)mAM pUro thayo hato. tyAre I. sa. 1413no unALo hato. I. sa. 1411nA phebruArImAM gaDhanuM bAMdhakAma zarU thayuM ne I. sa. 1413nA mArca-eprilamAM pUruM thayuM, to I. sa. 1412nA eNprilamAM AvatI visaM. 1868nA vaizAkhanI miti gaDhanAM vAstupravezanI haze? vAstupravezanI vidhi sAmAnyataH vAstunuM bAMdhakAma pUruM thatAM pahelAM karavAmAM Ave che, e dRSTie jotAM A asaMbhavita nathI. Ama amadAvAda zaheranI sthApanA je gaDhanA bAMdhakAmathI karavAmAM AvI, te gaDhanuM khAtamurta I. sa. 1411nI 26mI phebruArIe, saMbhavataH eno vAstupraveza Isa. 1412nA eNprilanI 17mIe, ane gaDhanA bAMdhakAmanuM pUruM thavuM I. sa. 1413nA mArca-eNprilamAM thayuM hovAnuM mAluma paDe che.

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ghoghAnA aprakaTa jaina prati mA le che* kAMtilAla phUlacaMda somapurA navanItalAla AnaMdIlAla AcArya ghoghA khaMbhAtanA akhAtanA pazcima kinAre AveluM prAcIna baMdara che. bhAvanagara vasyuM e pahelAMnuM e che. * bhAvanagarathI te 224 ki.mI. dUra AveluM che. prAcIna samayathI ja ghoghAmAM jainonI vasati sArA pramANamAM hatI. jenonI prAcIna jAhojalAlInA pratIkarUpa traNa vizALa jaina maMdironavakhaMDA pArzvanAtha, caMdraprabhu tathA jIrAvAlA pArzvanAtha-tyAM AvelAM che. temAM navakhaMDa pArzvanAthanuM maMdira suvikhyAta che. tenA vizALa prAMgaNamAM neminAtha, samavasaraNa, suvidhinAtha tathA zAMtinAthanAM maMdiro AvelAM che. A lekhomAMnI vigatonI tAravaNI karI tIrthakaronAM, sUrionAM, gonAM, jJAtio ane aTakonAM, sthaLonAM tathA strIpuruSonAM nAmanI sUcio lekhamAM ApelI che. te uparathI IsunI 13mI sadImAM ghoghAnA jaina samAjanA pravartamAna gaccho, jJAtio, aTako vize mAhitI maLI zake che. vaLI, A samayathI ja bahudhA prathama tIrthaMkara AdinAtha pratyeno savizeSa bhAva paNa prakaTa thato varatAya che. gujarAtamAM mukhyatve AdinAtha, zAMtinAtha, neminAtha, pArzvanAtha ane mahAvIra pratye savizeSa bhaktibhAva pahelethI ja hovAnuM A lekho parathI sUcita thAya che. vaLI, ghaNAkharA lekhomAM mUrtinI pratiSThA karAvanAra sUrinuM nAma che, je temano samayanirNaya karavAmAM khUba ja upayogI thaI paDe che. lekhonA samaya daramyAna ghoghAno jaina pratimAnidhi' e zIrSaka nIce zrI madhusUdana DhAMkI tathA zrI harizaMkara pra. zAstrIe eka TUMko paricayalekha prakaTa karyo hato (phArbasa gujarAtI vaimAsika, jAnyu-mArca 1965). ghoghAnI uparyukata pratimAo para ukIrNa lekhonI vAcanA ane zrI DhAMkIe mokalI ApI che te mATe ame zrI DhAMkI tema ja gujarAta sarakAranA purAtattva khAtAnA RNI chIe. prastuta lekhomAM uparyukta pratimAlekhonA AdhAre upalabdha vistRta mAhitI rajU karI che,

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112 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha ghoghAnA jaina samAjamAM zrImAlI ane moDha jJAtinAM prAbalya ane vRddhi haze tema lAge che. thaLanAmamAM eka ja nAma "vigharAjapura'no ullekha maLyo che, paNa A sthaLa oLakhAtuM nathI. prastuta aDhAra pratimAlekho nIce pramANe che : (1) saMvata 1276 varSe zrI ba(A )Naga che mAgha vadi 9. (2) saMvata 1279 varSe 4 vadi 3 zrI vAyaTIyagaccha zrI jinadattasUrisatAne vizvarAjapura vIlUNa(ta) mAtR rAjU zreyortha zrI AdinAtha kAritaH | (3) saMvata 1296 moDha jJAtIya jAyodharagathvIya rAjasIhena(pi) nAgapAla rANu zreyoDartha neminAtha biMba kArita che pratiSata jAlyodharagaccha devasUriziSya zrI haribhadrasUribhiH | (4) saMvata 1296 mAgha sudi 11 zrImAlajJAtIya zreTha pAsenasutA vAviNi zreyArthe zrI riSabhadevA biMba kArita pratiSThita zrI ratna(va)tasUribhiH. (5) saMvata 1297 varSe caitra vadi 5 bhoma mahA kAkala......sIsIha sahitena pitR.....bi..... kArita pratiSThita zrI devasUriziSya pra....sUribhiH | (6) saMvata 1298 varSe vaizAkha sudi 4 zanI zreTa dekaputrI mAdakAraNa (pi) tA zrI deva mahAvIra...... biMba vAyaDaga che pratiSThita zrI chavadevasaribhiH || (7) saMvata 1305 ASADha sudi 10 zrI kaSabhanAtha pratimA zrI jina..ti sUri ziSyaH zrI jinesara sUribhiH pratiSTitA sA....zrAvakeNa kAritAH | (8) saMvata 1305 aSADha sudi 10 zrI RSabhanAtha pratimA zrI jina...tisUriziSya zrI jinasarasUribhiH pratiSThitA sA...(lau) lU zrI vakaNakAritA | (9) saMvata 1311 zrI zrImAlaya che. jayatAsuta Asalena svabhAryA mAtRrAdevi zreyoDartha bibe kAritaH pratiSThita zrI (so)macaMdra sUribhiH | (10) saMvata 1329 vai0 0 9 zuke pitR sAMgA mAtR zrI lUNadevi zreyase ravIbhA bhImAbhyAM zrI AdinAtha biMba kArita zrI bahacchIya zrI guNAkara suribhiH pratiSThita | (11) saMvata 1733 vaizAkha vadi 5 zrImAla jJAtIya che. sAMgaNa siMgAdevi zreyoDartha suta narasiMhana zrI mahAvIra biMba kArita zrI hematilakasUrinAM upadezena (12) saMvata 1334 vaizAkha suda 4 surena Tha0 ukSaNakenAkaSA......na huvaMjanA zreyase zrI AdinAtha biMba kArita pratiSThita kanApallIye zrI narabhadrasUribha / (13) saMvata 1334....5 zana che. kuMjala suTa pAsadeva suTa vIrapAla....nA ratanA jyatA vIrapAla sui padamasIMhanabhAryA pati pAlpaNavi............. (caM) deva zrI pArasvanAtha biMba kArApitaH || (14) saMvata 1337 varSe vaizAkha sudi 2 some zrI zrImAla jJAtIya zre....... zreya....tanayarasiMha zrI pArthasute vIramena deva zrI zAMtinAtha biba kArApata: || (15) vi. saM. 134o jeka sudi 15 laghubhAtu dhanapAla zreyothe vijayasiMhena zrI neminAtha biba kArita pratiSThita | (16) saMvata 1344 varSa jeTha su. 10 budhe lakhamasIhena sahajA bhAryA sahajaladevi zreyArthe zrI pArzvanAtha biMba kArita che. (17) saMvata 1346 citra sudi 1 bhame pitR samarasiMha bRhadabhAtR sohaDa zreyase zre rana zrI zAMtinAtha kArita pratiSThitaH zrI yazobhadrasUriziSya zrI vibudhaprabhasUribhiH ||

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ghoghAnA aprakaTa jaina pratimAlekhAM : 113 (18) saMvata 1359......moDha jAtIya 40 deAkena bhAta hIrala puNyAya biMbaM kArita prati zrI jANyodharagacche zrI hariprabhasUribhiH // A aDhAra lekho(1-18)no samayapaSTa saM0 1276(I0 0 1220)thI saM.1359 (Isa0 1303) eTale ke 83 varSano che. A samaye gujarAtanI gAdI para solaMkI rAjAo bhImadeva khIjo (lavaNuprasAdanI madada dvArA punaH sattAprAptino samaya I. sa0 1225-1242), tribhuvanapAla (I sa0 1242-1244) ane vAghelA--solaMkI vaMzanA rAjavIo hatA. Ama A samaya daramyAna solaMkInI mukhya zAkhAno aMta ane upazAkhA vAdhelA-solaMkIno udaya tema ja asta jovAmAM Ave che. A badhA lekho anukrame (1) saM0 1276 (I sa0 1220); (2) saM0 1279 (I sa0 1223); (3-4) saM0 1296 (I sa0 1240); (5) saM0 1297 ( sa0 1243); (6) saM0 1298 (I. sa0 1244); (7-8) saM0 1305 (I. sa0 1249); (9) sa0 1311 (i sa0 1255); (10) saM0 1329 (I0 sa0 1273); (11) saM0 1333 (I. sa0 1277); (12-13) saM0 1334 (I. sa0 1278); (14) saM0 1337 (I sa0 1281); (15) saM0 1341 (I. sa0 1285); (16) saM0 1344 (0 sa0 1288); (17) sa0 1346 (I sa0 1290); ane (18) saM0 1359 (I sa0 1303)nA che. A lekho paikInA be lekha (3-4) saM0 1296 (I. sa0 1240)nA che. te paikI eka lekha(3)mAM miti ke vAra Apela nathI; to bIjA lekhamAM miti ApI che paNa vArano ullekha nathI. bIjA e lekha (7-8) saM0 1305 (I. sa0 1249)nA che. baMnemAM mitino ullekha karyo che, paNa vArano nirdeza nathI. saM0 1334(I sa0 1278)nA paNa e lekho che (12-13). te paikI eka lekha(naM0 12)mAM mitino ullekha karyo che, paNa dhasArAnA kAraNe vAra vaMcAto nathI. bIjA lekha- (naM0 13)mAM tithi ane vArano ullekha spaSTa vaMcAya paNa mAsa-pakhavADiyAnA akSaro dhasAI gayA hovAne kAraNe vAMcI zakAtA nathI. A aDhAra lekho paikI traNa lekho(naM0 3, 9 ane 18)mAM mAtra sAlano ja nirdeza karyo che ane miti, vAranI vigata maLatI nathI. vaLI cha lekho(naM 5, 6, 10, 13, 14, 17)mAM anukrame bhoma (maMgaLa), zina, zukra, zani, soma, bhoma(maMgaLa)vArano ullekha karyo che. bAkInA lekhomAM vArano nirdeza karyo nathI. A aDhAra lekho paikInA naM0 1 ane 4mAM mAgha mAsano ane naM0 5 ane 17mAM caitrano; naM0 6, 10, 11, 12 ane 14mAM vaizAkhano, naM0 2, 15 ane 16mAM jye(je)no ane naM0 1 tathA 8mAM aSADha mAsano ullekha karyo che. A sarva lekhonuM lakhANa suvAcya ane spaSTa che. tema chatAM dhasArAne kAraNe keTalAka lekhonI vigato bhUMsAI gaI che. dA. ta., naM0 panA lekhamAM pitR...... pachInA akSaromAM pratimAnA nAmano ullekha dhasAI gayo lAge che. lekha naM0 7mAM biMba bharAvanAra vyaktinuM nAma dhasAI gayuM che. lekha naM0 8mAM jemanI preraNAthI RSabhanAthanI pratimA bharAvI che te jinasarasUrinA ziSya surinuM nAma tathA pratimA bharAvanAra vyaktinuM nAma dhasAI gayela che. lekha naM0 12mAM vAra bhUMsAI gayo che te sAthe jenA zreyArthe AdinAthanuM biMba bharAyuM che te vyaktinuM nAma ghasAI gayuM che. lekha naM0 13mAM mAsa, pakSa ane aMtima paMktinA keTalAka akSaro dhasAI gayA che. naM0 1nA lekhamAM saMvata ane gacchanA ullekha sivAya bIjI koI vigata noMdhAI nathI. AthI bAkInuM lakhANa saMbhavataH bhUMsAI gayuM haze tevuM anumAna thAya che. lekha naM0 5, 9 tathA 18mAM tIrthaMkaronAM nAmano ullekha na karatAM mAtra biMba bharAvyAno ja nirdeza karyo che. suzrca08

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114: zrI mahAvIra jaina vidyAlaya suvarNamahotsava ca sUci (jamaNI bAjue lakhelo aMka je te pratimAlekhane naMbara sUcave che.) tIrthakaronAM nAma AdinAtha (RSabhadeva) (1) 2, 4, 7, 8, 10, 12 zAMtinAtha (16) 14, 17 neminAtha (22) 3, 15 pArzvanAtha (23) 13, 16 mahAvIra (24) 6, 11 sUrionAM nAmara guNAkarasUri (bRhagaccha) jinadattasUri (vAyaTIyagaccha) jina...tisUri jinesara ripa 7-8 chavadevasUri (vAyaDagaccha) devasUri (jAlyodharagaccha) narabhadrasUri pra...... (dha) deva (2) 1 aDhAra pratimAo paikInI cauda pratimAo para tIrthaMkaronAM nAmano ullekha karyo che ane te paikInI cha pratimAo AdinAtha ane bAkInI ATha pratimAo paikI zAMtinAtha, neminAtha, pArzvanAtha ane mahAvIra e dareka tIrthaMkaranI bae pratimAo havAnuM A lekha parathI sUcavAya che. 2 pratimAlekha naM. 5 ane 13mAM surinuM nAma ghasAI gayuM hoya tema lAge che, jyAre lekha naM. 14, 15, 16mAM sUrinA nAmano ullekha nathI. 3 A e ja sUri lAge che ke jemaNe saMvata 1296mAM nAgArjunakRta "yogaratnamAlA' para vRtti racI hovAnuM noMdhAyuM che. (mo. 60 desAIkRta jaina sAhityano saMkSipta ItihAsa, pR0 397, paricheda 571.) 4 zrI jinadattasUri saM. 126pamAM vAyaTa (vAyaDa) gAmamAM thayA. temaNe vivekavilAsa' nAmano graMtha racyo che. teo vastupAlanI sAthe zatruMjayanI yAtrAe gayelA sUrio paikInA eka hatA ema sukRtasaMkIrtanamAM jaNAvyuM che. chavadevasUri temanA ziSya hatA (jai. sA. saM. I. pU0 341, pari0 496). jIvadevasUrino ullekha ahIM lekha naM. 6mAM thayelo che. ahIM sUrinA nAmamAM eka akSara ghasAI gayo che, paraMtu A ja lekhamAM te sUrinA ziSyanuM nAma jinesarasUri hovAnuM noMdhAyuM che te parathI anumAna thAya che ke A sUri jinesarasUrijinezvara)nA guru kharataragacachanA jinapatisUri hovA joIe. A sUrie zreSTi nemicaMdra bhAMDAgArikane jainadharmI banAvyA hatA. A zreSThinA putre saMva 125pamAM temanI pAse dIkSA laI temanA paTTadhara ziSya jinezvarasUri nAme prasiddha thayA (jai. sA. saM. I. 50 340, pari0 493). 6 juo TipaNa naM. 3. jIvadevasUri yogavidyAnA bhAre jANakAra hatA (je sAva saM0 I0, 50 341, pari. 496). 7 A rasUrie prAkRtamAM "padmaprabhacarita' racyuM hatuM. tenI eka hastaprata chANImAM pravartaka kAMtivijayajI pustaka bhaMDAramAM che (jai. sA. saM. I0, 50 340, pari0 496).

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pra......(sari) yazobhadrasuri ratna(va)tasUri viSNudhaprabhasUri (so)nacaMdrasa rika hariprabhasari (jAlyodha7) haribhadrasuri (jAlyodharagaccha) humatilakasa ri (1) kanApallIya (2) jAlyodhara (3) bRhada (4) bhramhANa (5) vAyaTIya ke vAyaTa 1 2 moTa (jJAti) 3 4 5 k. (kra) (aTaka) ghoghAnA apraTa jaina pratimAlekho : 115 rANu (aTaka) zrAvaka (jJAti) zrImAla--lI (jJAti) skonAM nAma 5 17 4 17 9 18 3 11 jJAtio ane aTako'nAM nAma 12 3, 18 10 1 2, 12, 18 3, 18 3 7 4, 9, 11, 14 8 caMdragamAM bhaidhaprasAra nAmanA sUra thaI gayA che. temanA eka ziSya padmaprabhasUrae munisuvratacarita (piyarsana tastapratono riporTa naM- 3 (1984-81), naM0 602 ane puti jenI saM. 1304nI hastaprata salameranA bhaMDAramAM che) racyAM hatAM (je sA. ra 40, pR0 396, pari. pa69), A lekhanA maisUra uparyukta caMdnapatrasUrinA zUra hovAnuM anumAna che. A lekhanA (somacaMdrasUri prasiddha vAdidevaranA ziSya jayamaMgalamUrinA ziSya hovAnuM amAruM anumAna che. somacaMdrasUrie saM0 1329mAM vRttaratnAkara nAmanA chaMdanA graMtha para TIkA lakhI hatI. 10 lekhomAM moDha ane zrImAla sIno jJAtio tarIke ullekha thayo che. A baMne jJAtio tenA mULa dabhavaspAna pradeza sAthe saMkaLAyelI che. A baMne jJAtio gujarAtamAM jaina tema ja jainetara samAja sAthe saMkaLAyelI che, paraMtu jainetara samAjamAM moDha ane zrImAlI jJAti brAhmaNa ane vaiSNava vANiyAomAM jema pracalita che tema jaina samAjamAM paNa te jaina pAyAnA varga sAthe saMkaLAyelI che. lekhomAM nApita hakkara ane sAha (zAka) aTaka *cApAIyonI sUcaka che. 11 prastuta dhAtu pratimAlekhomAM AvatI zre. (zreSThI), mahA. (mahAjana), sA (zAha) vagere aTako aupacArika hovAthI temano samAveza A sUcimAM karyAM nathI, 'zreSThI' rAkhta guptonA abhilekhomAM gAmanA zrImaMta vaipArIyA mATe prayonayaMtro navA maLe che. teo vepAra uparAMta nANAM dhIradhArano dhaMdho paNa karatA hatA. A praNAlikAne anusaratI mukti mATe zreNI' zabda bhAratamAM lAMbA samayathI pracalita che. enuM hAlanuM rUpAMtara 'zeTha' zabdamAM maLe che. mahA e 'mahAna', 'mahAmAtha', 'bahena' vagerenuM saMkSepa saMbhava che. lekha naM. pamAMno ullekha ne

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116: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha sthaLonAM nAma vidyarAjapura 2 padmavati pAlaNadevI mAtRrIdevI mAdakAraNa rAja strIpuruSonAM nAma strIonAM nAma vAviNi sahajaladevI siMgAravi hIrala huvaMjanA lUNavi asala uNAka kAkala kula jatA 5 13 puruSanAM nAma ratna 12 ratanA ravIbhA rAjasIha 9, 13 lakhamasIha vaka vijayasiMha vIra pAla virama vINa (ta) samarasiha didAka 4 - dhanapAla tyarasiMha narasiMha nAgapAla pAsiMha - i jha i jha pArtha sAMgaNuM - - * pAsaDa pAsadeva bhImAbhA. sAMgA sIvasIha sohaDa ) - mahAmAtyanA arthamAM ghaTAvavAmAM Ave to mahAmAtya "kAkala" koNa ane A samayanA itihAsamAM tenuM kevuM ane keTaluM mahattva vagere prazno upasthita thAya tema che. Thakkara' zabda caulukya samayanA abhilekhomAM gujarAtamAM sarvaprathama dagocara thAya che. " Thakakura' zabda spaSTataH gAmanA mukhI ke jAgIradAranI sAthe vaparAto hato. zarUAtamAM te nAnA ane gauNa varganA sthAnika adhikArI mATe vaparAto hovAnuM mAluma paDe che. gujarAtamAM hAlamAM luhANA ane bhATiyA kAma mATe te sarvamAnya aTaka thaI paDI hoya tema lAge che. Thakakara, ThakkaramAMno "ka" zabda prAkRta che ane te vepArInA arthamAM prayojato. A arthamAM te IsunI pahelI sadInA eka abhilekhamAM ullekhAyela che (moniyara viliyamsa " saMskRta koza', pR. 430). "rANa (lekha naM. 3)nI aTaka saMskRta "rANakamAMthI udabhavelI lAge che.

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ghoghAnA apraTa jaina pratimAlekho H 117 A dhAtu pratimAlekhomAM madhyakAlIna gujarAtanA vaNika varganI vyaktionAM je nAmo maLe che, tenAM vargIkaraNa parathI spaSTa thAya che ke strIpuruSonAM ghaNAM saMskRta nAmo mizra saMskRta (Non-Sanskrit)mAM rUpAMtara pAmyA che. vaLI, temAMnA keTalAMka prAkRtamAMthI UtarI AvelAM jaNAya che, to keTalAka vikRta thayAM che. sAmAnyataH ApaNe A nAmane cAra vibhAgamAM vaheMcI zakIe : (1) zuddha saMskRta, (2) ardha ke mizra saMskRta, (3) zuddha prAkRta, (4) ardha ke mizra prAkRta. nAgapAla, narasiMha, vIrapAla, padmasiMha, dhanapAla, pArtha, amarasiMha, ratnavijayasiMha, pAvatI vagere nAma zuddha saMskRtarUpe vaparAtAM jovA maLe che; to rAjasIha, sIvasIha, jayatA, ravIbhA, bhImAbhA, ratanA, vIrama, narasiMha, lakhamasiMha, rAja, laNadevI, mArAdevI, siMgAdevi vagere mizra ke ardhasaMtarUpa dhAraNa kare che. vIlUNa, pAsA, kAkala, de, vakaNa, Asala, sAMgA, sAMgaNa, huMvajanA (2), kuMjala, pAsadeva, sohA, dedAka, vAviNi, mAdakaraNa, pAllaNadevI, sahajaladevI, hIrala vagere nAmo zuddha tema ja mizra prAkRtanA svarUpomAM dagocara thAya che. je nAmone aMte siMha, pAla, devI ke vatI zabda Ave che te bahudhA tatsama svarUpa jALavI rahyAM che; dAta., padmasiMha, vijayasiha, samarasiMha, nAgapAla, vIrapAla, dhanapAla, lUNadevi, pAvatI. paNa kyAreka AvAM nAmonAM pUrve Avela svarUpa vikata paNa thayA che; dAte pAsadeva, mAtRrAdevI, siMgAradevI, sahajaladevI, sIvasIha ane lakhama(lakSmaNa)sIha paNa AvAM ja vikRta tatsamo che. ahIM tabhava nAmo "la" (dA. ta., kAkala, Asala, kuMjala, hIrala), "ka" (dedAka, uSNaka). A (sAMgA, ratnA), "bhA' (ravIbhA, bhImAbhA), tA (tA), Da" (pAsaDa, soheDa), "NuM" (sAMgaNa, vakaNa, vIlUNa), "INi" (vAviNi), "u" ke "u" (daka, rAja), "ma" (vIrama) vagere pratyayo laI rUpavidhAna sAdhatAM jaNAya che. che tema ja ra ma ma karyuM. sola 12 vaeN kave che' aMtavALA nAmo bahudhA zaka ke murjara jAtivAcaka hovAnuM sUcave che. Do. sAMkaLiyA temanA matane anumodana ApatAM jaNAve che ke prAgvATa, osavAla tema ja gharakarkaTa jainomAM te sAmAnya hoya che. vikhyAta piDizAha rAjasthAnanI gurjara jAtimAMthI utarI AvyA hatA. gurjaro madhya eziyAmAMthI prathama paMjAbamAM sthira thayA ane te pachI uttarottara teoe rAjasthAna ane uttara gujarAtamAM sthaLAMtara karyuM. solaMkI samaya daramyAna teonI rAjyamAM amaladAra tarIke niyukti thatI tethI teo khUba pratiSThA ne mahattA pAmyA hatA. gujarAtanA pradezane gujarAtanAmAbhidhAna arpaNa karavAmAM teono phALo mahada aMze hovAnuM ghaNuM vidvAno svIkAre che. A paradezI jAtie bhAratamAM sthira thayA pachI bhAratanA Itara dharmonI mAphaka jaina dharmane paNa aMgIkAra karyo hovAno saMbhava che. (DaoN. sAMkaLiyAH sTaDIjha ina hisTorikala eNnDa kalcarala lyogrAphI eNnDa inogrAphI oNpha gujarAta (1949, pUnA), 50 140 tathA "orijina oNpha gujarAta' jarnala opha gujarAta risarca sosAyaTI, 1946, pRSTha 82-87.) --= ========== ==

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aM baDakathAnA AMtara pravAho somAbhAI pArekha na purANuvidyAmAM aMbaDa vidyAdharanI kathA ati mahatvanI che, paNa tenA tarapha vidvAnonuM joIe teTaluM ' dhyAna dorAyuM nathI eTaluM ja nahi, paNa prasiddha bhAratIya vidyAvid pro. lUmaphiDe ane pro. e vebare bhAratIya lokakathAnI paraMparAnI carcAmAM jeno sAro evo ullekha karyo che tevI muniratnasUri-viracita gadyapadyakRti "sakhyAritra'nI samIkSita AvRtti paNa ApaNe taiyAra karI zakyA nathI. jaina Agamo jeTaluM ja sAMskRtika itihAsanI sAmagrImAM samRddha, AcArya hemacandrAcAryakRta triSaSTizalAkApuruSa caritra" mahAkAvya che, ane chatAMya, DaoN. helana johAnsane teno karelo aMgrejI anavAda ane AtmAnaMda jaina sabhA-bhAvanagara taraphathI prasiddha thayelo teno gujarAtI anuvAda-A. anuvAdo dvArA ja e mahAkAvya-viSayaka adhyayana ane saMzodhana cAle che, paNa tenI samIkSita : hajI ApaNI pAse taiyAra nathI. AvI ja sthiti abaDakathA-viSayaka " azvatra"nI che. teramA zatakamAM racAyelI A kRtinI chApelI prata munimAnavijaye saMpAdita karI, zrI satyavijaya granthamAlAmAM granthAAMka 11 tarIke, Isa. 1928mAM prasiddha karI che. A ja saMskRta kRtino jUnI gujarAtImAM vAcaka maMgalabhANiye karelo anuvAda (vi. saM. 1639 = I. sa. 1583), praoN. baLavaMtarAya ka. ThAkore saMpAdita karI I. sa. 1953mAM prasiddha karyo che. meM mArI carcAmAM, saMskRta kRti "annavaritra" ane praoN0 ba0 ka. ThAkora-saMpAdita "aMbaDa vidyAdhara rAsano upayoga karyo che. aMbaDakathAnA bAhyasvarUpa (Morphology) para tenA purogAmI kathAgrantho--guNATyakRta bahatkathA, zrIsaMghadAsagaNi vAcakacita "vasudeva-hiMDI', budhasvAmIta bRhatkathAlokasaMgraha', somadevaviracita "kathAsaritsAgara', kSemendrakRta "bRhatkathAmaMjarI', AcArya hemacandrAcAryaviracita "triSaSTizalAkApara caritra', "pariziSTa parva Adi grantho-nI sArI vyApaka asara paDelI che, jyAre teramA zataka pachI, saMskata ke jUnI gujarAtImAM racAyela, vikrama-viSayaka vArtAcakro--'siMhAsanabatrIsI', 'vetAlapacIsI' ane "paMcadaMDa chatra'--para A abaDakathAnI prabaLa asara paDelI che. vikramanAM uparyukta traNeya vArtAcakranAM tema ja dareka vArtAcakanI alaga upavArtAnAM svarUpaghaTana, Ayojana, kathAghaTako ane sAMskRtika paraMparAmAM

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abaDakathAnA AMtarapravAho H 119 ghaNuM sAmya che. "bRhatkathA', "vasudeva-hiMDI', "bRhatkathAlokasaMgraha" Adi vArtAsaMgrahonI mAphaka, aMDakathA ane vikramanAM vArtAcakromAM, eka mukhya vArtA che, je samagra kathAne ekasUtre sAMdhe che ane kathAnI samApti A mukhya vArtAnA kathAtaMtu dvArA thAya che. mukhya vArtAmAMthI upavArtAo phUTatI jAya che. eka upavArtAmAMthI bIjI, ane bIjImAMthI trIjI ema upavArtAo phUTya ja jAya che. emAM dareka vArtA svataMtra vArtA tarIkenuM vyaktitva dharAve che eTaluM ja nahi, paNa te samagra kathAnA sthApatyanA aMza tarIke zobhA Ape che. vikramanI vAtocako ane aDakathAnuM svarUpaghaTane A rIte ekabIjA sAthe ghaNuM sAmya dharAve che. aMbaDakathAmAM siMhAsanabatrIsI, vetAlapacIsI ane paMcadaMDa chatranI vArtAonA tANAvANA sudhaTa rIte vaNAyelA che. jema vikrama aneka prakAranA antarAya ane avarodhomAMthI puruSArtha ane parAkramo vaDe bahAra Ave che, tema aMbaDa paNa eka vIra tarIke aneka muzkelIono sAmano karI, ghaNAM sAhasa kare che. vikrama ane aMbaDa banne kAlpanika vIra pAtro che, chatAM teonA AMtara vyakitatva dvArA teo jIvatIjAgatI taravaratI vyaktio hoya evI chApa ApaNA mana para paDe che. vAstavika jIvanamAM mAnavI aneka muzkelIonA jataraDAmAMthI pasAra thaI aneka prakAranI kasoTIomAMthI tarI pAra UtarI je tejasvI, bhavya ane prANavAna vyaktitvanI chApa ApaNuM mana para pADe che, tevI ja mAna ane prazaMsAnI bhAvanA, vikrama ane akhaMDa ApaNuM hRdayamAM pedA kare che. praoNDa ba0 ka. ThAkore abaDakathA viSe A pramANe vidhAna ryuM che: .........siMhAsanabatrIsI" nAme ApaNA rAsathamAM AvuM jarUrI prathamapaheluM sthAna A "aMbaDa vidyAdhara rAsa'nuM che; siMhAsanane je batrIsa pUtaLIo che, jemAMnI dareka potAno vAro AvatAM eka kathAnaka kahe che. e batrIze pUtaLI mULa koNa hatI, ane siMhAsanamAM kyAre zAne joDAIjaDAI gaI tenI kathA ja A "ebaDa vidyAdhara rAsa'. e batrIsa pUtaLIo te aMbaDa vidyAdharanI batrIza rANIo. aMbaDa eka sAmAnya nirdhana sAdhanahIna kSatriyamAMthI mahAmoTo rAjA ane aneka alaukika vidyAono jJAtA vidyAdhara kevI rIte thayo tathA A eka pachI eka A batrIza rANIone kevI rIte paraNyo, te sarva abhuta banAvonI kathA te ja A "aMbaDa vidyAdhara rAsa "....... Ama, praoNThAkora aMbaDakathAne siMhAsanabatrIzI' sAthe ghaNuM sAmya dharAvatI, "siMhAsanabatrIzI'nI pUrvaAvRttisamI gaNAve che. paNa "paMcadaMDachatra" --viSayaka vikramanA vArtAcakranA mArA adhyayana daramyAna abaDakathAnuM "paMcadaMDachatra" sAthe mane ghaNuM sAmya lAgyuM che. muniratnasUrie "aMbacaritra"nI potAnI saMta katinI pupikAmAM "paMcadaMDachatra" ane gorakhayoginInA sAta Adezano ullekha A pramANe maLe che? yatpuryAmujjayinyAM sucaritavijayI vikramAdityarAjA. vaitAlo yasya tuSTaH kanakanaramadAdviSTaraM putrikaashriH| asminnArUDha evaM nijazirasi dadhau paJcadaNDAtapatraM cane vIrAdhivIraH kSititalamanRNAM so'sti saMvatsaraGkaH // 36 // itthaM gorakhayoginI vacanataH siddho'mbaDaH kSatriyaH saptAdezavarA sakautukabharA bhUtA na vA bhaavinH| dvAtriMzanmitaputrikAdicaritaM yad gadyapadyena tat / cakre zrImuniratnasUrivijayastadvAcyamAnaM budhaiH // 37 / / ityAcAryazrImuniratnasUriviracite ambaDacarite gorakhayoginIdattasaptAdezakaraambaDakathAnakaM sampUrNam // 1 ThAkora, ba0 ka7 (saMpAdita)H "akhaMDa vidyAdhara rAsa', prastAvanA, 50 9.

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120 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha "paMcadaMDa chatranA vAcakramAM damanI gAchaNa, jAdUI daMDanI rekhA dorI vajInI dIvAla UbhI kare che. vikrama tenA parAkramI sensa vaDe paNa e dIvAla toDI zakato nathI, tyAre teNe damanIne bolAvI pUchyuM ke, A dIvAla kevI rIte toDI zakAya? damanIe kahyuM ke, mArA pAMca AdezanuM pAlana kara; meM ApelA pAMca Adeza tuM pUrA karIza to A vajInI dIvAla tuM toDI zakIza. aMDakathAmAM paNa aMbaDa gorakhayoginI pAse Ave che ane pote nirdhana hoI, dhana ane riddhisiddhinI yAcanA kare che. gorakhayoginI tenI pAse eka zarata mUke che ke, mArA ApelA sAta AdezanuM je tuM pAlana karIza to tuM aneka prakAranI vidyAo ane akhUTa dhana prApta karI zakIza. Ama, banne vArtAonI mukhya kathA lagabhaga sarakhI che. A Adeza sAhasa ane parAkramo karanAra vIra ane tejasvI vyaktionA mArgamAM mUkavAmAM AvatA antarAya ane avarodho ja che, ema kahI zakAya. kSemaMkaranI "siMhAsanadhAtrizikA caudamAM zatakamAM ApaNane prApta thaI te pahelAM 'siMhAsanabatrIzI'nI keTalIka vArtAo prAcIna sAhityamAM sArI peThe pracalita hatI; ane vAtonAyaka vikramanA bhAgamAM aneka antarAyo AvatA, evA ulekha ma che. bhoja rAjA jevo siMhAsana para besavA jAya che ke, tarata ja siMhAsananI pUtaLIo eka pachI eka bhojane rAjA vikramanAM sAhasa ane parAkramonI vArtA kahe che; ane dareka pUtaLI rAjA bhoja samakSa eka avarodha mUke che ke, je tuM AvAM sAhasa ane parAkramo karI zake to ja A siMhAsana para besa. AvI rIte, rAjA bhojanA mArgamAM batrIza antarAya UbhA karavAmAM Ave che. "vetAlapacIsI'nuM vArtAcakra vikramanAM sarva vAtacakromAM prAcIna che eTaluM ja nahi, paNa bhAratIya lokavArtAnI prAcInamAM prAcIna keTalIka vArtAonAM pratirUpa A vArtAcakramAM maLe che. lokamukhe vahetA sAhitya tarIke (floating literature tarIke) "vetAlapacIsI'nI vArtAo IsavI sananI pahelI ke bIjI sadI pUrvenI hoya ema jaNAya che. A vArtAcakramAM vikrama mRtadehane khabhe mUkI, bolyA vinA, tene UMcakIne cAle che. mRtadehamAM pravezelA vetAle vikrama samakSa evI zarata mUkI hatI ke, mRtadehane khabhe UMcakI, bolyA vinA jo tuM nakkI karelA sthaLe pahoMcIza to tuM mane jItI zakIza. vikrama A prakAranI siddhi prApta na karI zake te mATe, mRtadehamAM pravezelA tAle vikramane eka pachI eka vArtAo kahevA mAMDI. ane dareka vArtAnA ane te evI samasyA ke koyaDo mUkato ke jethI tenA ukela mATe vikramane maunano tyAga karI bolavuM paDatuM. AvI rIte te pacIsa vakhata AvI kasoTIe caDyo, paNa ane vikrama vetAlanI A yukti samajI gayo ane chelle, vetAle tene bolAvavI aneka prayatna karyA chatAM te vagara bolya dhArelA sthaLe pahoMcI gayo. Ama, "vetAlapacIsImAM samasyA ke koyaDAnA svarUpamAM, vIra pAtranA mArgamAM antaraya ke avarodho UbhA karavAmAM Ave che. aMbAkathAmAM, aMbaDe gorakhayoginI pAse jaI dhana, vidyA ane riddhisiddhinI yAcanA karI, eTale gorakhayoginIe abaDane pote ApelA sAta AdezanuM pAlana karavA kahyuM. pahelA AdezamAM gorakhayoginIe Adeza Apyo ke, he aMbai, pUrva dizAmAM jA ane tyAM guNavardhana vADImAM AvelA zatazarkarA nAmanA vRkSanuM pAkuM phaLa laI Ava. A AdezanuM pAlana karatAM, aMbaDa bhadrAvalI nAmanI jAdUI vidyAonI jANakAra strInA saMparkamAM Avyo. bhadrAvalIe aMbAne kahyuM ke, tuM mArI putrI caMdrAvalI sAthe kaMdukanI ramata rama ane ramatamAM je tuM jItIza to te tane paraNaze; ane jo tuM hArIza to tAre caMdrAvalInI sevA karavI paDaze. aMbaDa ramatamAM caMdrAvalIne jItI gayo; ane te caMdrAvalIne paraNyo tema ja tenI pAsethI nabhagAminI, AkaSiNa, kAminI ane ciMtita-rUpaMkarA-e cAra jAdUI vidyAo paNu pAmyo, ane zatazarkarA vRkSanuM pAkuM phaLa paNa meLavI zakyo. "paMcadaMDanI 'nI vArtAmAM damanI gANa

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aMbaDakathAnA AMtarapravAho H 121 vikramane potAnI putrI devadamanI sAthe sAripAza dUta ramavA Adeza Ape che. emAM evI zarata hoya che ke, je devadamanI chate to vikrame tenI sevA karavI; paNa je vikrama chate to vikrama devadamanIne paraNe. chevaTe vikrama jItyo ane devadamanIne paraNyo. aMbaDakathAnI uparyukta vArtA sAthe "paMcadaMDa nI A pahelI vArtAnuM ghaNuM sAmya che. aMbaDa gorakhayoginIne bIjI vakhata maLyo tyAre gorakhayoginIe aMbAne bIjo Adeza Apyo ke, dakSiNa sAgaramAM haribaMdha nAmanA dvIpamAM rahetA kamalakAMcana nAmanA yogI pAsethI "aMdhArI" nAmanuM jaI vastra laI Ava. A Adeza siddha karatAM, aMbaDa rolagapura paTTaNanA rAjA haMsarAjanI putrI guNavatInA samAgamamAM Avyo. A guNavatIne sUrya taraphathI jAdUI kAMcaLI bheTa maLI hatI. A kAMcaLI abhedya hatI. guNavatI ane tenI bIjI sAta sakhIo sarasvatI paMDitA nAmanI jAduI vidyAonI jANakAra brAhmaNa strIne tyAM bhaNavA jatI hatI. sarasvatIe, yoginIo pAsethI UMcI jAtanI siddhi prApta karavA, tenI uparyukta ATheya vidyArthinIonuM yoginIone balidAna ApavA gupta saMketa to. guNavatIe A saMketa jANyo ane jAI kAMcaLInI madadathI te ane tenI saMkhIo bacI gaI ane yoginIo sarasvatI paMDitAno bhakSa karI gaI. A ADakathAnuM pratirUpa ApaNane "paMcadaMDa"nI "UDaNuDa"nI vArtAmAM maLe che. sarasvatI paMDitA Umade sAthe, ane guNavatI rAjakumArI vikrama sAthe sAmya dharAve che. trIjA AdezamAM gorakhayoginIe ebaDane Adeza Apyo ke, siMhaladIpamAM somacaMdra rAjAnI patrI caMdravyazA pAse ratnamAlA che te tuM laI Ava. A ratnamAlAnI vArtA "paMcadaMDanI 'abhayadaMDa" athavA "ratnamaMjA nI vArtAnI pUrva AvRtti che. "aMbaDakathA'nI caMdrayazA "paMcadaMDa"mAM ratnamaMjarInA pAtra tarIke Ave che. bane vArtAomAM ratnamAlA ane ratnamaMjUSA jAdUI vidyAnA pratIkarUpa che. cothA AdezamAM, gorakhoginInA Adeza pramANe, aMbaDa navalakha pATaNamAM bohi7 nAmanA vaNikane tyAMthI navalakhI mAkaDI levA jAya che. bohicha vANiyAnI putrI rUpiNI pAse A mAkaDI hatI. rUpiNIe aMbAne kahyuM ke, huM tane siddhikarI vidyA ApuM chuM. te vidyA vaDe nagaranA rAjA vimalacaMdanane ajArUpa banAva ane pachI tene tenuM mULa svarUpa ApavAno daMbha karI, tenI pAse tenI vIramatI nAmanI putrI paraNavAnI yAcanA karaje. aMbaDe rUpiNInA kahyA pramANe yukti karI, eTale rAjAe prasanna thaI arthe rAjaya ane potAnI putrI vIramatI aMbAne ApyAM. aMbAnI siddhividyAthI AkarSAI rUpiNI tenI mAkaDI sAthe aMbane paraNI. - yoginInA pAMcamA Adeza pramANe, aMbaDa soraThamAM AvelA devakA pATaNamAM, tyAMnA rAjA devacaMdranA pradhAna buddhisAgara pAsethI ravicaMdra nAmano dIpa lAvavA jAya che. ebaDe devakA pATaNamAM jaI eka mAlaNane tyAM utAro karyo. mAlaNa mAraphate AMbaDe jAyuM ke, tyAMnA rAjA ane pradhAna mahAvyA pIDAtA hatA. abaDe potAnI siddhividyA prabhAvathI nagaranAM ghaNuM duHkhI lokanAM duHkhadarda dUra karavA mAMDyAM. mAlaNe A vAta rAjA ane pradhAnane kahI. rAjAe ebaDane potAnI pAse bolAvyo. abaDe rAjA ane pradhAnanA vyAdhinI vAta jANI, ane kahyuM ke, rAjaputrI ane pradhAnaputrI ane paraNAvavAmAM Ave ane arthe rAjya ApavAmAM Ave tema ja pradhAna temanI pAseno ravicaMdra dIpa mane Ape to tamArA baneno jIvaleNa vyAdhi huM bhADuM. rAjA ane pradhAne ebaDanI zarato kabUla karI. abaDe rAjA ane pradhAnane siddhavidyA prabhAvathI vyAdhimukta karyA; ane rAjaputrI, pradhAnaputrI, tema ja mAlaNaputrI (pote je mAlaNane tyAM Utaryo hato tenI putrI) ane ravicaMdra dIpa laI pAcho pharyo. gorakhayoginIe aMbaDane chaThThI vAra Adeza Apyo ke, kUrmakoDi nagaramAM devacaMdra rAjA rAjya kare

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122 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava ratha che. tyAMnA somezvara nAmanA vipra pAse sarvArthazaMkara nAmano jAdUI daMDa che, te tuM laI Ava. aMbaDe potAnA dhyeyanI siddhi mATe pravAsa Adaryo. rastAmAM te eka yogInA samAgamamAM Avyo. yogI pAse be kaMbA hatI--eka rakta kaMbA ane bIjI zveta kaMbA. rakta kaMbAnA prahArathI hariNI hoya te strI banI jatI ane zveta kaMbAnA prahArathI, strI hoya te hariNI banI jatI. yogI dhUrta hato. teNe UMcA prakAranI siddhavidyA prApta karavA kaliMga dezanA bhojakaTa nagaranA rAjAnuM yajJamAM balidAna ApyuM hatuM ane te rAjAnI putrIne harI gayo hato. te rAjaputrIne yogI haMmezAM hariNInA svarUpamAM rAkhato. aMbaDe yogIne haNI, rAjaputrIne choDAvI ane rakta kaMbA tema ja zveta kaMbA prApta karI. AgaLa pravAsa karatAM, aMbaDa kUrmakAro inagaramAM AvI pahoMcyo. tyAM AvI teNe somezvara vipranuM ghara zodhyuM, paNa koIe tene tenuM ghara batAvyuM nahi. rAtre te nagara bahAra eka kAmadevanA maMdiramAM sUto hato, tyAM moDI rAtre, somezvaranI putrI caMdrakAntA AvI. jevI te maMdiramAM pravezI ke tarata ja kayAMkathI bIjI traNa pUtaLIo pragaTa thaI. e cAreya sakhIo pAtALamAM javA vAtacIta karatI hatI tevAmAM aMbaDe chupAIne moTI bUma pADI. sarva sakhIoe tapAsa karI to aMbai maLI Avyo. sakhIoe paMcazIrtha e nAmathI saMbaDane eka majUra tarIke lIdho. badhAM baLada vinAnI gADImAM beThAM ane gADI ApoApa cAlavA lAgI. aMbaDe potAnA prabhAvathI rastAmAM vacce gADI aTakAvI. chevaTe, caMdrakAntA Adi sakhIoe potAnI jAdUI vidyA tene zIkhavI tyAre gADI AgaLa cAlI. sarva pAtALamAM gayAM. tyAM nAgazrI ane vAsavadattA nAmanI be sakhIoe sarvanuM svAgata karyuM, paNa dhUrta baDe potAnI pAsenA jAdUI phacUirNathI nAgazrIne rAsabhI banAvI, ane jAdUI zveta kaMbAnA prahArathI anya sarva sakhIone hariNI banAvI dIdhI; ane aMbaDa pote chAnomAno gADI laI nAsI chUTyo. sarva sakhIo bebAkaLI banI paMcazIrSa(aMbaDa)ne zodhavA lAgI, paNa aMbaDa maLyo nahi. chevaTe, rasabhI banelI sakhI pAtALamAM rahI ane bIjI sarva kUrmakaroDimAM AvI pahoMcI. candrakAntA chAnI rIte somezvaranA gharamAM pesI gaI ane bAkInI sakhIo kAmadevanA maMdiramAM gaI. vagara baLade poLamAM gADI hAMkatA aMbAne rAjAe bolAvI, candrakAntAne strIsvarUpamAM lAvavA vinaMtI karI. eTale aMDe zarata karI ke, he rAjA, tamArI putrI ane paraNAvo ane tamAruM ardha rAjya Apo tema ja caMdrakAntA tenI pAsenI sarvArthazaMkara daMDa mane Ape to ja huM candrakAntA ane tenI sakhIone strIsvarUpamAM lAvuM. rAjAe tema ja candrakAntAe aMbAnI zarata kabUla karI; eTale aMDe rakata kaMbAnA prahArathI candrakAntA ane anya traNa sakhIone strI banAvI. rAjAe potAnI putrI aMbAne paraNAvI ane potAnuM arthe rAjya tene ApyuM. candrakAntA ane tenI traNa sakhIo aMbAne paraNI ane candrakAntAe tene potAno sarvArthazaMkara daMDa Apyo. candrakAntAnI vinaMtIthI aMbaDe nAgazrIne rAsabhAmAMthI strI banAvI, eTale nAgazrI aMbAne paraNI ane potAnI pAseno harSadaMDa teNe aMbaDane Apyo. A AkhI vArtA "paMcadaMDachatrInI vivApahAra daMDanI vArtAne ghaNI rIte maLatI che. "viSAhAra daMDanI vArtAmAM paNa vikrama cAra sakhIonA dUta tarIke pAtALamAM jAya che, snAna karavA sarovaramAM paDelI sakhIonAM vastra laI nAsI jAya che, ane nAgakanyAne paraNavA AvelA vararAjAnuM haraNa kare che. chevaTe sarva sakhIo vikramane paraNe che ane nAgakanyA potAno vipApahAra deDa vikramane Ape che. aMbakathAnuM uparyukata vastu "paMcadaMDanI A vArtAnA vastu sAthe sArA pramANamAM sAmya dharAve che. sAtamA AdezamAM gorakhayoginI abaDane sopArAnA rAjA caMDezvarano mahAmukuTa lAvavAno Adeza Ape che. aMbaDa sopArA jaI mohaka rU5 dhAraNa karI, rAjA caDezvaranI putrIne mohita kare che. moha pAmelI rAjakuMvarI surasuMdarI abaDane paraNavAno nizcaya kare che. rAjA AvA vaTemArgune potAnI putrI

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aMDakathAnA AMtarapravAho H 123 paraNAvavA Icchato nathI, ane teNe aMbAne keda pakaDavA sainiko mokalyA. aMbaDa ane sainiko vacce yuddha thatAM sainiko hArI gayA. rAjA aMbAnI jAdUI ane siddhavidyAonA prabhAvathI aMjAI gayo ane potAnI putrI tene paraNAvI ane siddhividyAnA pratIkarUpa potAne mahAmukuTa paNa tene bheTa Apyo. A rIte, aMbeDakathA jUnI gujarAtImAM avatAra pAmelI 'siMhAsanabatrIzI', "vetAlapacIsI" ane "paMcadaMDa chatra' jevI vikramanI vArtAo para vyApaka asara karanAra kathA che; jayAre aMDakathAnuM vastu bRhatkathA", "vasudeva-hiMDI", "bRhatkathAzlokasaMgraha", "kathAsaritsAgara' ane 'bRhatkathAmaMjarI' Adi kathA graMthonI asarathI vikAsa pAmyuM che. uparyukata sarva vArtAgranthomAM jAdUI vidyA e mukhya kathAghaTaka (Motif) tarIke prayojAyuM che. aMbakathAmAM abaDe aneka siddhividyAo ane jAdUI vidyAo prApta karI mATe te vidyAdhara (Holder of Magic Sciences) kahevAyo. siddhavidyAnAM pratIkarUpa tAla ane vikrama, e vikramanAM vArtAcakone saLaMgasUtrathI sAMdhatAM pAtro che. vikrama e koI rAjA, mahArAjA ke samrATa hato ke kema e samasyA bAjue rAkhIe to, te sarva jAdUI vidyAmAM pAraMgata eka vidyAdhara hato. ema vikrama-viSayaka vArtAcakromAMthI niSpanna thAya che; ane bRhatkathA" tema ja "kathAsaritsAgaranI vArtAono nAyaka naravAhanadatta, "vasudeva-hiMDI'no nAyaka vasudeva, ane AcArya muniratnasUri-viracita "aMbaDacaritra"no nAyaka aMbaDa vidyAdhara Adi pAtronuM rUpAntara thatAM, ApaNane prasiddha vikrama vArtAcakronA nAyaka vikramanuM lokapriya pAtra maLyuM che. AcArya hemacaMdrAcAryaviracita triSaSTizalAkApurUSacaritramAMnA bharata Adi cakravartIoe paNa keTaleka aMze vikramanA pAtranA ghaDataramAM ThIka phALo Apyo che. Ama samagra rIte jotAM, purogAmI ane anugAmI bhAratIya kathAsAhityamAM, aMbaDakathA ane teno nAyaka aMbaDa vidyAdhara eka mahatvanI kaDIrUpa sthAna dharAve che. aneka prakAranI muzkelIo, viTaMbanAo ane vipattiomAMthI pasAra thaI aneka parAkramo ane pracaMDa puruSArtha karanAra, aneka jAdUI vidyAo sividyAo, tAMtrika vidyAo ane rasavidyA prApta karanAra vIra aMbaDa vidyAdharanuM tejasvI, bhavya ane prANavAna pAtra kharekhara lokonAM hRdaya, kalpanA ane jijJAsAvRttine lAMbA samaya sudhI sateja rAkhaze. emAM zaMkA nathI. - Sche ) )

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kacchanA rAjakavi yatizrI kanaka ku zaLajI dulerAya kArANI kucchamAM dhaNA jUnA kALathI jaina yationuM prAbalya hatuM. AjathI mAtra ardhI sadI pahelAM paNa ahIM doDhaso pacheDIdhArI yatio hatA. have to bhAratanA anya pradezonI mAphaka kacchamAM paNa jaina yationI saMkhyA nahivat rahevA pAmI che. kacchanA rAvazrI pahelA kheMgArjIne daivI sAMga ApIne emane sahAyabhUta thanAra tizrI mANekamerajIne rAozrI saurASTranA carADavA gAmethI kacchamAM lAvyA, ane emane bhujanI pozALamAM niyukta karyAM, tyArathI rAjadarabAramAM paNa jaina yatio ucca sthAnanA adhikArI banyA. kaccha rAjyanA pATavI kuMvaranuM vidyAdhyayana sauthI prathama pozALanA gAdIpati yati mahArAjathI zarU thatuM. A ti rAjakuMvaranA kAnamAM // OM namaH siddhaM // no mahAmaMtra phUMkato ane tyArapachI tene pahelo akSara ghuMTAvato. ATalI kriyA pachI kacchanA yuvarAjano vidyAbhyAsa AgaLa cAlato. Aje paNa A praNAlikA cAlu che. vikramanI sattaramI sadInI zarUAtathI rAo kheMgAranA rAjya-amalamAM yatizrI mANekamerajI kAThiyAvADamAMthI kacchamAM AvyA ane tyArathI pozALamAM emanI paraMparAno AraMbha thayo. aDhAramI sadInA madhyamAM mahArAozrI lakhapatajIe bhujamAM vrajabhASA pAThazALAnI sthApanA karI. lakhapatajI mojIlA, vilAsI ane sAhityapremI hatA. lalita kalAonA e parama upAsaka ane sahAyaka hatA. sAhitya, saMgIta ane kalAnA cAhaka rAjavI tarIke kacchamAM e ajoDa hatA. A raMgIlA rAjavIe jyAre kacchano kArabhAra hAthamAM lIdho tyAre duniyAthI alaga paDelA evA kaccha pradezane kAvya-kaLA ane hunnara-kaLA vaDe bhAratabharamAM prakhyAta banAvI devAnA emanA aMtaramAM koDa jAgyA hatA, ane te dhaNe aMze saphaLa thayA che ema Aje spaSTa jovAmAM Ave che. kavi nAnAlAla jevA * A sAMganuM Aje paNa vijayAdazamInA divase pUjana thAya che,

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karachanA rAjakavi patizrI kanakakuzaLajI H 125 gujarAtanA kavisamrATa kahI gayA che keH "bhujiyo e kacchanA mahArAonuM siMhAsana che, ane vrajabhASA pAThazALA eno kItimugaTa che." mahArAozrI lakhapatajIe eka tarapha jema hunnarakaLAno vikAsa sAdhyo, tema bIjI bAju kAvyakalAnuM eka navuM ja kSetra taiyAra karyuM. mahArAozrI kalApremI hatA tevA ja kAvyapremI paNa hatA. pote paNa kavi hatA-mahAkavi hatA. kacchane kalAnuM dhAma banAvavA sAthe emaNe kAvya-kalAnuM adhyApana maMdira paNa banAvI dIdhuM. "kavi janme che; ene ghaDI zakAto nathI." e kahevatane pheravIne emaNe kavio ghaDavAnI pAThazALA kacchamAM zarU karI. emanAmAM dezanAM ratnone cUMTI kADhavAnI khAsa zakti hatI. hunnara-kaLA mATe emaNe rAmasiMha mAlama jevA kalAdharane zodhI kADhyo, te ja rIte kAvya-kaLA mATe emaNe mAravADa-jodhapura bAjunA tapAgacchanA yati kanakakuzaLajI jevA kAvya-kohinUrane zodhIne temane kacchamAM kheMcI lIdhA ane vrajabhASA pAThazALAnA prathamAcArya tarIke temane ghaNuM ja mAnapAnathI bhaTTArkanI padavI sAthe sthApita karyA. A pAThazALAe AgaLa jatAM keTalo vikAsa sAdhyo tenI sAbitI gujarAtanA mahAkavi nAnAlAlanA nIcenA zabdo ApI jAya che : kAvya-kalA zIkhavAnI kaccha-bhujamAM pozALa hatI-Aje paNa che. kavio sRjavAnI e kAvya-zALA kadAca duniyAbharamAM aditIya haze. ghaNA kAvyarasiko tyAM bhaNI, rAjadarabAramAM kavirAja thayA che. e kAvyazALAmAM kAvyazAstro zIkhavAya che, ne rasopAsakone navarasanI vADIomAM ghumAvI, RtuonI taDakI-chAMyaDI prIchovI, bhasicane, uchera, phAlavANuNa, gUthaNa vagere bagIcAzAstrano zAstrI ucharatA bAgavAnane bhaNAve che ema tyAM bhaNAvAya che. kacchanA mahArAvanuM bhujiyo siMhAsana che, paNa bhujanI pozALa te karachanA mahArAvano kIrtimugaTa che." kavi nAnAlAlanA pitA gujarAtI bhASAnA lokapriya kavi dalapatarAma DAhyAbhAI paNa A pAThazALAno ullekha karatAM "buddhiprakAza'nA sana 1858nA julAI mAsanA aMkamAM jaNAve che ke : bhUjanI pAchalI keTalIye peDhIothI kavitA zIkhavavAnI pAThazALA calAvavAmAM Ave che. emAM zikSaNa ApanAra gorajI che. tene rAjya taraphathI varSAsana maLela che. Aje kavitA zIkhanArane khAnapAnanI sagavaDa rAjya taraphathI ApavAmAM Ave che. bhaNanAra vidyArthI jevI parIkSA Ape che tevuM tene inAma maLe che. A prakAranI kavitAnI pAThazALA samasta gujarAtamAM na to koI javAmAM AvI che na sAMbhaLavAmAM." | gujarAtI sAhityanA staMbha samA A be dhuraMdhara kavionA abhiprAyathI A pAThazALAnI mahattA saheje samajI zakAze. - vrajabhASAthI ajJAta evA kaccha jevA pradezamAM kAvyakaLAnA rasane relAvanAra kavivara kanakakuzaLajIe ahIM kAvyakaLAnA gaNezanuM koI evA zubha coghaDIe maMDANa karyuM ke tenI kIrti candranI khIlatI kaLAnI mAphaka dinapratidina vadhatI cAlI. kaccha, kAThiyAvADa, gujarAta tema ja mAravADa ane rAjasthAnamAMthI kavipada prApta karavAnA koDa sevanAra sarasvatI-putrI ahIM AvatA ane sarasvatInI ArAdhanA karI, kavinI chApa laIne ahIMthI vidAya thatA. evA keTalAye kavirAjoe aneka rAjayonA rAjakavi banIne A saMsthAnA nAmane ujavaLa karela che. kavi kanakakuzaLajIe "lakhapatamaMjarI nAmamALA" nAme eka uttama graMtha saMvata 1794mAM lakhela che. emAM 202 pado che. AraMbhanA 12 padomAM jADejA vaMzano itihAsa che ane tyAra pachI

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126 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI A nAmamALAno AraMbha thAya che. 202 padamAM te samApta thAya che. enA chellA be pada nIce mujaba che: lakhapati jasa sumanasa lalita, Ika baranI abhirAma, sukavi kanaka kInI sarasa, nAma dAma guNa dhAma. sunata jAsu hai sarasa phala, kalmasa rahe na koya, mana japi lakhapati maMjarI, hari darzana jyoM hoya. dilhInA mogala bAdazAha zAhajahAMnA darabAranA suprasiddha kavi "suMdara nA "suMdara zRMgAra' pustakanI bhASA TIkA paNa kavi kanakakuzaLajIe mahArAvazrI lakhapatajInA nAma para lakhI che. A pustakano AraMbha nIcenI paMktithI thAya che : yaha suMdara saMgAra kI, rasa dIpikA suraMga, racI dezapati rAu suta, lakhapati lahi rasa aMga. kavizrI kanakuzaLajInI mahattA emanA ziSya racelI nIcenI be kRtio parathI samajI zakAzeH kavita paMDita prabIna paramAratha ke bAta pAuM, gurutA gaMbhIra, guru jJAna hu ke jJAtA he; pAMcau vrata pAle, rAgadveSa dou dUra Tale, A nara pAsa vA kuM, jJAna dAna dAtA hai, paMca sumati tIna, gupati ke saMgI sAdhu, pIhara cha kAya ke, suhAya jIva trAtA he; suguru pratApa ke, pratApa pada bhaTTAraka, kanakakuzaLasUri, vizva meM vikhyAtA hai. savaiyA Anana sohata bAnI sadA, puni buddhi ghanI tihuM lokani jAnI, piMgala bhASA purAtani saMskRta, to rasanA pe Iti ThaharAnI; sAhiba zrI kanakeza bhaTAraka, * to vapu rAje sadA rajadhAnI, jai la hai suraja candra rU aMbara, ta la hai tere sahAya bhavAnI. aMtamAM kavizrI kanakakuzaLajI racita devI mahimAne eka chaMda atre ApavAmAM Ave che. chaMda jAti bhujaMgI vaDI jayota brahmAMDa, aMbA vikhyAtA, tumhIM AzapUrA, sadA kaccha mAtA; raMgyA raMga lAlI, kiyA pAya rAtA, bho zrI bhavAnI, sadA sukhadAtA.

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1 suvarNa. ra kacchanA rAjakavi tizrI kanakakuzaLajI : 127 vaDA dharA, nupurAM nAda khAje, ghaNA duMdubhi, vAdaLAM zabda gAje; rahe pAya ramajola, tAle surAje, bhajgyAthI bhavAnI sakala duHkha bhAje. 2 bhalI pIMDIyuM, UpamA tIrabhathI, bihu dha raMbhA, aNI suMDa haththI; nitaMbA pralaMbA, racyA cakra rathI, vase hIya meM, jIva jyA~ vIsa haththI. lakhI laMka sUrAM taNI, saMka ADI, vaNAvI sukresI, mukesIya vADI; laTaMgA muDhaMgA taNI, lAla nADI, haDapacI. mahaMmAya mo, dharyA Apa ADI ! vaLI mekhalA, laMkavALI vizALI, suhAlI, rUpAlI, sukAlI, rasAlI; kasI chAtIe kaMcukI raMga kAlI, bhajo zrI bhavAnI, bhujA vIsavAlI bhujA vIsa meM, cUDa zrovana bhALI, bI AMgulI, vIMTIyAM naMgavALI; ude aMba, nakSatra AbhA unnaLI, mahA mAya mAtu, bhajo jyotavALI. sarjAtI gaLe zobhatI, motI mALA, vaNI kaMTha kaMThI, trirekhA vizALA; racI aMba aMbA, suDoDIra rasAlA, vakhANI pramANI, mahaMmAya khAlA, raMgyA oSTa taMbola, biMbaM suraMgA, aMge jyota daMtAna, AhIra gaMgA, bhaNe jIbhasyuM, cAra vedA abhaMgA, umA isarANI, vakhANI utaMgA. kahyA hema pAtrAM, jasA do kapolA, jhaLake nathe, nAka motI akolA, cakhe raMga rAtI, suhAtI kacolA, bhavAM AMkha moha, bhavannAtha bhoLA. 3 4 5 8 9

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128 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha sudhaTTI bhrakuTI, kakhANuM sudhArI, bharyAM naMga moTA, akoTA sudhArI; navA veDhalA, khIMTalA jyota nyArI, kaI kahyuM, AbharyuM kIdhA kumArI. ude bhAla caMda, anaMtlR unnarsa, pagI madhya TIkI, sunIkI prakAsa; khulyo mAMga4 siMdUra, kaMdUra pAsa, vadhI tA timi, kAMti motI vikAsa, 3 sumeLathI zobhatI. zire zIzakUla, amUlaM sudhArTa, lase divya lAlI, sulAtaM lalATuM, vaNI keza veNI, triveNI virATa, umA dhyAna dhyAve, sujAve ucATa. lasepa dAH tridhAma chApuM lagADI, suraMgI duraMgI guhAtI ju sADI, bahu phUla phUlI, amUlI ju vADI, mahIM maMDikA, caMDikA muja mADI. sahu deva iMdrAdi, caMdrAdi Ave, ghaNIyuM maNIyuM, ghaNAM ratna lAve; bharyA thALa muktA, ru phule vadhAve, gale gIta saMgIta, nAce ru gAve. dhare haththa mAthe, lagAve dharattI. vade sukha, dukhAM taNI e vinaMtI; surAMnAtha--sannAtha kIje sakattI, mahIyAM kare, caMDa muMDAM masattI, suNe deva vANI, kahe isarANI, niciMtA raho IMdra au IMdrarANI; ghaNA deta ne preta dhAluM ja dhANI, vaDAlA traMbAlA, tame nAda vAje, suMDAlA daMtAlA, utAlA susAje, caDhI digdha siMhe, calI juddha kAje, dharA otarA, zeSa pAtALa dhrUje. 4 sudhI, 5 jhaLake. 10 11 12 13 kRpANI mRDANI, tame hAtha tANI. 16 14 15 16 6 hAra. 7 rAkSaso. 8 pArvatI. 9 moTA.

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10 bhakSa kare. sugra0 9 kacchanA rAjakavi yatizrI kanakakuzaLajI : 129 thA ztha juTA, bichUTA laDAkA, khalAMrA lAM, khela khaggA khaDAkA; daDA sA uDe, aMDa muMDA daDAkA, bhare Dagga digdhA, karaMtA bhaDAkA. dhamAdhamma dhoce, kharacchI dhamo, dhamAdhamma dhIMgA, krassI dhamoDA, muDatAM paDatAM, laDatAM suoDA, khagyAM sulagyAM, pagAM kaMdha khoDA. Damaka Damarka, khaje rudra DArka, haNyA caMDIe, caMDa muMDAM suhArka, huvA kuMbha nikuMbha, mahiSAM halArka, kharI yoM karI, bhUta pretAM khurA. trasaMtA palAMrA, DalA mukha trAsa, mahekaMta atraM, karatuM tamAruM; bhukhe. bhUta pretAM, kare Aga trAsa, vaDA muMDa khaMDa, kare mukha vAsa. pIye bhUtaNI, pretaNI rakta pyAruM grase triddhI, yogaNI maMsa grAsa; hue DAkaNI sAkaNI, hI hulAsa, uDe sAmaDI, AMtaDI le akAsa. rudre ruMDa muMDIya, mAlA racAI, iso juddha, kudde, kiyo Apa AI; surAM o narAM, zeSa saMpe suhAI, vadhAI vadhAI, sugAve vadhAI. brahmammA visantu vRSAka ! vakhANe, yatI o satI, pAra yogI na jANe, ThavyA pAya kailAsa, vAsA kiANe, mahAdeva sevA kare, sukha mANe, prathIpata mAMhIM, vadhAvo pramANuM, aunI phre, samudrAM taMta ANuM,12 tumhI mAhamAI, mahI kaccha bhANuM, thapyo AsapUrI, sahI succha thANuM. dIyo saMpadA, sukha zAnti sadAI, mahI sukha mANe, yoM kIje sumAI; bharo kaccha meM saMpadA mana bhAI, lahe kroDa kroDAne loko lugAI. vaDAI vaDAI tu mAtu vaDAI ! 11 zaMkara. 12 avanimAM samudrapAra lagI tamArI ANa pharatI raheze. 18 19 20 21 22 23 24 25 26

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kavi lAvaNyasamayakRta caturvizati jina stuti saMpAdakaH zivalAla jesalapurA kavi lAvaNyasamaya (hayAta vi. saM. 151thI 1589) prathama paMkitanA jaina gujarAtI kaviomAM * agrasthAna dharAve tevA, samartha ne pratibhAzALI kavi che. temaNe nAnI moTI trIseka kRtio racI che. temAMnI keTalIka prasiddha thaI che, jyAre moTA bhAganI aprasiddha che. temanI kRtiomAM temanuM pAMDitya ne sAmAjika jIvananuM UMDuM jJAna vAraMvAra pragaTa thAya che. koI paNa prasaMga, pAtrake bhAvanA varNanane rasamaya banAvavAnI kaLA temane sahaja che. alaMkAra, daSTAnto ane sAmAnya vidhAnothI koI paNa viSayane teo dIptivaMta banAvI mUke che. A badhI kRtiomAM "caturvizati jinastuti" ApaNuM madhyakAlIna sAhityamAM bhAta pADe evI che. prAcIna-madhyakAlIna gujarAtI sAhityamAM akSarameLa vRttomAM racAyelI saLaMga gaNIgAMThI che; jyAre "caturvizati jinaratutimAM prathama 27 kaDIo mAlinI chaMdanI ane chellI kaDI harigIta chaMdanI che. dareka kaDImAM kramasara eka eka tIrthaMkaranA vyakitatvane upasAvavAmAM AvyuM che. kavinuM chaMdaprabhutva uttama koTinuM che. dareka kaDImAM varNasagAI yamaka ane prAsanI yojanA paNa AkarSaka che. ghaNuM varSo pahelAM sva. zrI mohanalAla dalIcaMda dezAIe temane prApta thayelI hastaprata parathI A kRtinuM saMpAdana kareluM ane "jainayuga (pu. 1)mAM te prasiddha thayeluM. paraMtu tethI vadhu zuddha ane jUnI hastaprato amadAvAdanA lAlabhAI dalapatabhAI bhAratIya saMskRti maMdiranA graMthabhaMDAramAMthI prApta thaI che te uparathI pharIthI saMpAdana karI A kRti ahIM ApI che. baMne pratamAM lakhyA saMvata nathI, paNa pratanI sthiti ne lipi parathI vi. saM. 1600 lagabhaga te lakhAyAno saMbhava che. emAMnI naM. parapa3nI pratane A ane naM. 4143ne pratane B saMjJA ApI ahIM pAThabheda noMdhyA che. baMne pratamAM A prata vadhAre jUnI che.

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caturvizati jinastuti H 131 kanakatilaka bhAle, hAra hII nihAle, riSabhapaya pAle, pApanA paMka TAle. araci nava-rasAle, phUTaDI kUlamAle, nara bhava ajUAle, rAga naI roga TAle. ajita kiNina chatu, jehanaI mAna vItu, avanivara vahItu mAnII mAnavI tu. lahasi sukha niItu, pUji re mAnavI tu. ja jina mani cItala, mukII bhAna-vItu. 2 samavasaraNi baIDA, cIta morai paThA. asukha ati arIThA, upaDyA te ubIThA. supari kari garIThA saukhya pAmyAM anaThA. bhava dUba majha mIThA, saMbhavasvAmi dIThA. 3 lahaka siri dhajAnuM jJAna ke khajAnu, jinavara nahIM nAhnau, sAmi sAcI prajAnau, jasa jagi vara-vAnau, kaIla mAMhiM na chAnuM, suta samaratha mAnau, mAta siddhAra-pAna 4 viSama viSayagAmI, kevalajJAna pAmI duragati dukha dAmI, je huA siddhigAmI, hRdaya dhari na dhAmI, pUrava puNyakAmI, sakala sumati sAmI, sevaI sIsa nAmI. 5 ma kari aratha mAru, lobhanA loDha vAru; bhavika! bhava ma hAru, piMDa pApiMI ma bhAru. nayagati nivAra, cIti cetasa vAru. padamaprabha juhAru, sAMbhalau bola sAru. 6 kiya zivapura vAso, sAmi lIlAvilAsa, jaya jagati supAso, jehanaI deva dAso. dalie karamapAso, rAga nAThau nirAso, gurua-guNa nivAso, doSa doSiI na jAso. 7 kaDI 1. B RSabha. AB pAya paSAle. kaDI 2. A kaNi. B lahesi. A mati. B cautiu. kaDI 3. B cauti. A sokhya. B huA. kaDI 4. B lahika. A dhajA tuM. B sAcu prajAnu. B varavAnu. A mAha. B mAnu; sidhAravAnuM. kaDI 5. 3 huu sidhi. kaDI 6. A mahAra. B cIti; vahAra. A naragati vArupa B sAMbhaluM. kaDI 7. A gurUa. :

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132 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha mana-mada namAyA, krodha-yodhA namAyA, bhavabhamara bhamAyA, roga-sogA gamAyA, sakala guNa samAyA, lakSmaNA jAsa mAyA, prabhumisu jina-pAyA, caMga caMdraprabhAyA. suvividha suvidhi mAMDI, pApanAM pUra chAMDI, mayaNa-mada namAMDI, cIta co%0 lagADI, kuti mati zamADI, muktikanyA ramADI, suNi-na-suNi namADI, dekhavA te ruhADI. te kanakavaraNa pIlA, jeNi jItI pramIlA, siri dharia suzIlA, ri kIdhI kuzIlA, pragaTita tapazIlA, zItala svAmi zIlA, ma karisa avahIlA, jetunI lIla lIlA. bhavika nara ! bhaNIjai, siOM bhamu mAga bIjaI ? aharniza samarIjai, seva zreyAMsa kIjai, vividha sukha varIjai, puNyapIyUsa pIjai, anudina praNamIjai, lAnui lAha lIjai. jasa mukha-araviMdo, UgIu kai dichuMdo, kiri abhinava caMdo, punnimAna anaMdo, nayaNa amiabiMdo, jAsu seva" suriMdo, paya namaa riMdo, vAsupujjo jiSNudo. asukha-sukha haNevA, sauSyanAM lakSa levA, bhavajaladhi tarevA, puNya potuM bharevA, mugati-vanlR varevA, durgatii dAha devA, vimala vimala sevA, citta cItii karavA. akala navi kalAyu, pAra kei na pAyu, tribhuvani na samAyu, jehanai jJAna mAyu, jasa gi vara jAyu, roganau aMta Ayu, hRdayakamali dhyAyu, te anaMtu sahAyu. phaDI 8. A madanamada naDAcA; bhavabharama. kaDI 9. A cIMta cokhUM. kaDI 10. A siri dhira suzIlA, A kisa. kaDI 11. cothI lITI--B tima tima yama khIjai. A lAhu. kaDhI 12. A aravaMdo. A kara. B purnimAnu; vAsupuje, kaDI 13. A asukha gati haNevA. A sokhyanAM lakhyuM. A cIMtai karavA. kaDI 14. A kalAyu. trIjI lITI--A jaya jinavara jAyu. B roganu. 9 10 11 12 13 14

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caturvizati jinaratutiH 133 dharama dharama bhASaI, muktinau mArga dASaI. jagi jinavara pASaI, pApa jAI na pASaI. varasa divasa pAI, je prale citti rAI, puruSa aNie AjaI, saukhya te caMga cASaI. 15 mayagala ghara bArI, nAri siMgAri bhArI, rayaNa kanaka sArI, koDi ketI vicArI, prabhu tasu parihArI, jJAnacAritradhArI, tribhuvani jayakArI, sAMti evu sadhArI. vara kanaki ghaDAyA, hara hIre jaDAyA, mugaTa siri aDAyA, sUra tejiI naDAyA, tivala taDataDIyA, pApa prakiI paDAyA, kusumaya caDAyA, kuMthu pUjaMti rAyA. karama bharama jAlI, puNyanI nIMka vAlI, rati-avirati rAlI, kevalajJAna pAlI, akhaya-sukha-rasAlI, siddhi pAmI saMhAlI, ara araci sumAlI, Api re kUla TAlI. suNina suNina hallI, puSyaniI pUri ghalI, ghara taruaravallI, puttaputtehiM bhallI, nita navala-navallI, bhUri bhogehiM phullI, praNamai jiNa mallI, tAsu kalyANavallI. 19 vigata-kavi-kuraMgA, pAmI puNya tuMgA, navili gavila jaMgA, dUdha doSo duraMgA, java dUca jina saMgA, suvratasvAmi gaMgA, kiri tarala-taraMgA, AlasU mAMhiM gaMgA. 20 nami naya nivAraI, mAna-mAyA viDAI, bhavajaladhi apAraI, heli helAM UtAraI, bhagata-jana sadhAra, lobha nANuI lagAI, jina jugati juhAraI, te seve kAja sAra. 18 kaDI 15. B muktinu. A sAkhya. karI 16. A aMgAra. B saMta. A seva juhArI. kaDI 17. B kanaka. A mukuTa tejei; tivila. kaDI 18. A karamarama. kaDI 19. B suNi na thalI. A jina. kaDI 20. A vigati kali kuraMgA. 8 navala gavala jaMga. A dAkhyA. B huA. A mAhi.

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22 134 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI mugati kumati choDI, pApanI pAli phoDI, Talie sayala boDI, mohanI veli moDI, jiNi zivavahu loDI, nahI nemi jeDI, praNamAM lakSa koDI, nAtha bi hAtha joDI. jala jalaNa viyogA, nAga saMgrAma sogA, hari mayagala mogA, vAta corAri roga, savi bhayahara logA, pAmI pAsa jogA, nara nahI kahi jogA, pUjatAM bhUri bhogA. kaThina karama melhI, kAThIA tera ThelI, vimala vinavelI, bhAvi bholaI gahelI, nisuNi haraSi helI, bheTi pAmI duhelI, savisavirda pahelI, vIra vaMdU vahelI. durita dala dukAlA, puNya pAmI sugAlA, jasu guNavara bAlA, raMgi gAI rasAlA, bhavika nara trikAlA, bhAvi vaMduM bhayAlA jaya jinavara mAlA, nAmi lachuchI vizAlA. amiarasa samANI, devadeve vajANI, vayaNarayaNakhANI, pApallI-kRpANI, suNina suNina prANI ! puNyacI paTTarANI jagi jinavara-vANI, sevII sAra jANuM. rimijhimi jhamakArA, neharIcA udArA, kaTi-taTi palakArA, meSalIcA apArA, kamali-mali-sArA, deha lAvaNyadhArA, sarasati jayakArA, hou me nANudhArA. tapagachi diyara labdhisAyara samadeva sUrIsarA, zrI somaya gaNadhAra sevIya samayaratna muNasarA; mAlinIbRdiI jhamakabaMdhiI stavyA jina'UlaTi ghaNaI, miI lahiu lAla anaMta sukhamaya, muni lAvaNyasamaya bhaNai. 27 kaDI 22. A praNamaI sura koDI; be. kaDI 24. B mehalI. A bhAraI gayelI. kaDI 25. A jasa guNavara, lakhI. kaDI 27. B ramajhama. kaDI 28. A lachisAyara. A sevia; munIsarA. A malinI, 8 mAlinIya. A yamakabaMdhiI, B tanyA. A mai, A lAvaNyasamaya sadA bhaNaI.

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gujarAtI sAhityamAM jaina bhaktikAvyo pannAlAla rasikalAla zAha ane vicAranI pradhAnatAne anulakSIne kAvyanA be prakAra pADavAmAM AvyA : UmipradhAna ane buddhipradhAna. tattvajJAna jevA gahana viSaya mATe kAvyano prakAra ciMtanapradhAna gaNAya. paraMtu ethI vAcaka kAvyano rasAsvAda na karI zake e hakIkatane lakSamAM laI, ApaNA prAcIna kavioe tatvane lagatI bAbato UrmikAvyo dvArA pIrasI che kAraNa, UrmipradhAna kAvyo hRdayaMgama hoya che. potAnI anubhUti mAtra pragaTa kare eTale kavi saphaLa thato nathI; paraMtu tenI saphaLatAno AdhAra enI anubhUti vAcakamAM keTale aMze pragaTe che enA para rahelo che. zrI rAmaprasAda bakSI kahe che tema, "kavi potAnI anubhUtine mAtra vyakta karato nathI, vAcakanA hRdayamAM evI ja anubhUti jagADavAno eno prayatna hoya che. vAcakamAM samabhAva jagADe e ja enI kavizaktinI ane kalAnI saphaLatA che." mahAkaviothI mAMDIne sAmAnya kavionAM kavana mATe be viSayo sanAtana che: eka to Izvara ane bIjuM, samasta sRSTi pratyeno sneha. jagatamAM koIpaNa kavi evo nahi hoya jeNe A banne viSayo para potAnI kalama ajamAvI nahi hoya. A sanAtana viSayo upara ATaluM racAyA chatAM, darekanI anubhUtimAM kAMIka navIna tattva, kAMIka rasAsvAda karavA jevuM ApaNane maLI rahe che. IzvarabhaktinAM kAvyomAM paNa sUphIvAdIonI "priyA" tarIkenI kalpanA svAbhAvika thaI paDI. bhaktirasano pravAha bhAratabharamAM avirata vahyo che, jemAM mIrAMbAI, narasiMha mahetA, kabIra vagere mukhya che. jainonAM bhaktikAvyo ane anya darzanonAM bhaktikAvyomAM mULabhUta pharaka che. enuM kAraNa jaina darzananI Izvara pratyenI dRSTi che. jaina darzana Izvarane Ihalaukika vastuthI para, rAgadveSA baMdhanothI rahita, puNya ke pApa-sonAnI ke lokhaMDanI beDI-thI mukta kalpe che, chatAM e sAmAnya mAnamAMthI pragaTatuM saMpUrNa devatva che. jayAre anya darzanomAM Izvarane jagatakartA mAnavAmAM Avyo che, tema ja A badhI prakRtinI lIlA emanI hoI, IzvaralIlAnAM kAvyo racAyAM che. vaiSNava saMpradAya ane sUphImatamAM A bhaktirasa, 1 juo vAsmaya vimarza, pRSTha 40.

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136 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI zRMgArarasa mizrita paNa banyo che. jeno Izvarane svAmI tarIke svIkAre che, paraMtu sAMsArika dRSTithI nahi, hRdayanI sAcI UrmithI, AdarzanI ucca bhUmikA sAthe. mIrAMbAI vagerenAM bhajanomAM AvI bhUmikA che kharI. eTale evA kavionI kRtio jaina kavionI kRti sAthe sarakhAvIzuM to vadhu rasadAyaka nIvaDaze. sauprathama ApaNe AnaMdaghanajInA prItama joIe. RSabha jinezvara prItama mAro, aura na cAhu re kaMta, riyo sAhiba saMga na parihare, bhAMge sAdi anaMta, RSabha jinezvara prItama mAharo. -AnaMdaghanajI covIzI sarakhAvo- mere to giridhara gopAla, dUsarA na koI re prabhu - mIrAMbAI jaina kavionI khUbI e che ke bhaktikAvyomAM priya tarIkenA saMbodhanamAM Izvara vAgyArtha nathI hoto. khAsa karIne cidAnaMdajInAM padomAM AvatAM saMbodhano vicAravA jevAM che. sAMsArika saMbaMdhono emAM upayoga thayo che te A rIte ? ApaNe AtmA rAga-dveSAdithI gherAyelo che, eTale kumatinA bAhupAzamAM jakaDAyelo che. kumatine sumatinI zokya gaNI cidAnaMdajIe potAnI kAvyasaritA vahAvI che. juo, sumati potAnA svAmIne kevI vinati kare che : piyA ! paradhara mata jAvo re, karuNA karI mahArAja, kuLa marajAdA lopake re, je jana paraghara jAya. -cidAnaMdajInA pado : pada paheluM. paNa prabholana vastu evI che ke emAM paDyA pachI hAtha ghasavAnA hoya e jANavA chatAM paNa sumatinA piyA-ApaNe-paraghara jaIe chIe, kumatino saMga karIe chIe. paNa dhIraja ane kSamAzIlatAnI mUrti, AryasannArI kaMI potAnI sajanatA choDe kharI ke ? paragRhe javA chatAM paNa haju kAMI thayuM na hoya ema sumati yAcanA kare che? piyA ! nija mahela padhAro re, karI karuNA mahArAja, tuma bina suMdara sAhibA re, mo mana ati duHkha thAya. - cidAnaMdajInA pado : pada bIjuM. ApaNe to vihaMgAvalokana karavA beThAM chIe, mAtra daSTipAta karIe chIe, eTale vaccenI anubhUtino ApaNane Acho khyAla AvI gayo haze ema mAnI, jyAre AtmA svagRhe padhAre che, tyAre sumati kevo AlAda anubhave che te joIe : Aja sakhI mere vAlamAM nija maMdira Aye, ati AnaMda haiye dharI, hasI kaMTha lagAye. -cidAnaMdajInA pado : pada bAramuM. to AthI taddana viruddha virahiNInI dazA, viraha vedanA jevI hoya to ApaNe zrI devacaMdrajI viracita covIzInA ekAda stavananuM avalokana karIe. IzvarathI aLagApaNuM batAvatAM teo kahe che : RSabha dizuM prItaDI kima kije ho kaho catura vicAra,

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gujarAtI sAhityamAM jaina bhaktikAvyo H 137 prabhujI jaI aLagA vasyA - tihAM kiNe navi ho koI vacana uccAra, RSabha jijdazuM prItaDI. Izvara sAthe prItaDI bAMdhavI che, paNa kema baMdhAya? prabhujI to zivanagaramAM jaI vasyA. koI kaheze : patra dvArA agara mukti pAmatA jIvo sAthe saMdezo mokalAvIne prIti thaI zake, to teno pratyuttara paNa zrI devacaMdrajI pAse hAjara ja che : kAgaLa paNa pahoMce nahi navi pahoMce ho tihAM ko paradhAna, je pahoMce te tuma samo navi bhAMkhe ho koInuM vyavadhAna, RSabha jiNuM zuM prItaDI. uparanI vedanAmAM ApaNe premanI adhurapa joI. ekamAM AtmA para-ramaNImAM ramamANa che, to bIjamAM viraha-vedanAne utkaTa darzAvI che. paraMtu je premAnubhava kare che enuM zuM? e mATe to zrI mohanavijayajInI paMktio juo : prItalaDI baMdhANI re, ajita jiNuM zuM... zramajIvI manuSyano vicAra karo. grAmINa citra mana samakSa khaDuM karo. AkhA divasanA parizrama pachI ghera AvatAM kheDUta keTalo praphulita thAya che! AnaMdaghanajI, vIravijyajI, tema ja mahopAdhyAya yazovijyajI sAmAjika vAtAvaraNa, dharmanI bAbato, tattvanI nirarthaka carcA ane sAMsArika pApamaya jIvana-e badhuM choDI Izvarane nihALe che, svagRhe Ave che, tyAre kevA hRdayaMgama udgAro nIkaLe che !: du:kha dohaga dUre TaLyAM re, sukha saMpada zuM re bheTa, dhiMga dhaNI mAthe kiyo re, kuNa nara gaje kheTa, vimalajina! dIThAM loyaNa Aja. -AnaMdadhanajI e ja rIte mahopAdhyAya yazovijayajI mahArAja potAnI AgavI kAvyazakti dvArA bhUkhyAne bhojana nahi. paraMtu ghevara jevAM pakavAna maLe ane je AnaMda thAya evo ja AnaMda bhagavAnanAM darzanathI bhaktane thAya che e vAtanuM yathArtha nirUpaNa kare che : bhUkhyA ho prabhu, bhUkhyA maLyA dhRtapUra tarasyA ho prabhu, tarasyA divya udaka milyAM che...dIThI ho prabhu A sAthe mIrAMbAInA udgAro paNa sarakhAvIe : pAyojI maine rAma ratana dhana pAyo. AjanA yugamAM lakhAtI praNayatrikoNanI vArtAonA vAcakane kadAca thaze ke A paNa praNaya-trikoNane aMte sarjato sukhAMta che; paNa evuM nathI. vArtAmAM banatI vAto kAlpanika pAtro mATe bane che, jyAre uparanAM rasadarzanamAM jaNAvelI hakIkta ApaNA sarvenA jIvanamAM anubhavAtI kharI saMvedanA che. jyAre sAdhaka nija piyAnI (sumatinI) vinati avagaNe che, ane Akhare pastAya che tyAre zuM thAya che ?

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138 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava yatha virathA janma gumAyo, re mUrakha ! virathA janma gumAyo -cidAnaMdajInA pado : pada soLamuM ApaNI rojanI rAmakahAnI koIne Aje tAtkAlika samajAya che to sumatine milApano AnaMda arpI zake che ane pote paNa nijAnaMda mANI zake che. jene pAchaLathI samajAya che ene pazcAttAparUpI jharaNamAM snAna karavAnuM sadabhAgya sAMpaDe che ane te pavitra thavAno yoga prApta kare che, tyAre gata jIvananA saMsmaraNo divAsvapno jevA lAgatAM AtmA pukAre che : re nara ! jaga sapanakI mAyA -cidAnaMdajInAM pado : pada sattaramuM. sauthI vizeSa kAruNya to tyAre pragaTe che jyAre sumatinI vinati ApaNe aMtarAtmAthI avagaNI zakIe tema na hoIe ane kumatinA sakaMjAmAM sapaDAyelA hoIe, eTaluM ja nahi paraMtu temAMthI TavAno avakAza jaNAto na hoya, ane evI trizaMku jevI dazA hoya tyAre ? prabhu mero manaDo haTakyo na mAne. bahuta bhAMtara samajAyo, yAMku coDe huM aru* chAne, paNa Irya zikhAmaNa kachu paMcaka, dhArata navi nija kAne, prabhu ! mero mana haTakyo na mAne. -cidAnaMdajInAM pado : pada ekavanamuM. AvI dazA kAMI cidAnaMdajI ekalA ja anubhave che evuM thoDuM che? AnaMdaghanajI paNa vartamAna covIzInA sattaramA tIrthaMkara zrIkuMthunAtha bhagavAnanA stavanamAM kahe che : sura nara jana paMDita samajAve, samaje nA mAharo sALo, ho kuMthujina! manaDuM kima hI na bAje. mana kevuM che tenI vyAkhyA ApI zakAya kharI? A prazna AnaMdaghanajI jevA siddhahasta kavi mATe paNa vikaTa che. chatAM teo lakhe che : je Thaga kahuM to Thaga to nA dekhuM zAhUkAra paNa nAhIM, sarva mAMhe ne sahuthI aLaguM e acaraja mana mAMhI, ho ketharina ! manaDuM kima hI na bAje. mana kAbUmAM nathI. mana viSe bayAna paNa karyuM. eno upAya batAvatAM kharekharo sAdhaka koNa che e darzAve che tyAre "manaH jIva manuSyArrR[ varSe mokSayoH " sUtra yAda AvyA vinA rahetuM nathI ? mana sAdhyuM tiNe saghaLuM sAdhyuM, e vAta nahIM khoTI.' --AnaMdaghanajI 2 rata. 3 pragaTa, 4 ane. 5 AtmAnI pAraNati bhinna bhinna paristhiti te AtmAnI patnI. teno bhAI te ApaNuM mana. eTale ahIM "sALo' kahyo che.

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gujarAtI sAhityamAM jaina bhakitakAvyoH 139 jainetara bhakta kavioe bhaktirasa vahAvavA uparAMta sAmAjika TIkAo karI che ane emAM akho mokhare che. jene kaviomAM koIe sAmAjika prahAro karyA che ke kema, evo prazna svAbhAvika thAya. AnaMdadhanajIe samAja para prahAro karyA che, je tulanAdRSTie akhAnI jema AkarA nathI, paraMtu haLavA che. akho ane AnaMdadhanajI evA samayamAM thayA ke jyAre samAja aMdhAdhuMdhImAM, dhamadhatAnA gatadhakAramAM sabaDato hato. lokone bhakti to sadA rUci che, paraMtu tenI bhAvanAne visAre pADI eTale mAtra bAhyAcaraNa rahyuM. samasta bhAratanA kavionI kRtiomAM bhaktirasa jharyo che tenuM kAraNa kadAca upara bayAna karyA mujabanI sAmAjika sthiti hoya. mIrAMbAI dhIro, bhojo bhagata, pIpA bhagata, dayArAma, narasiMha mahetA, kabIra vagerenuM ubodhana ApaNe joIe to bhaktibhAvano vicAra kendrasthAne che. akhAe to potAnI tIkSNa kalama vaDe samAjane cAbakhA phaTakAryA che. zrI AnaMdaghanajIne samAja pichAnI zakyo nahi. ethI teo AtmalakSI banyA, ane vanavAsa sevyo. stavano jaMgalamAM racyAM, paraMtu samAjanI--sAdhusamAjanI asarathI mukta rahyA nahi. emanAthI kahevAI gayuM : gacchanA bheda bahu nayaNa nihALatAM tattvanI vAta karatAM na lAje, udara bharaNAdi nija kAja karatAM thakAM moha naDiyA kalikAla rAje. - bhaktikAvyonI carcA karatI vakhate AvA udagArone eTalA mATe sthAna ApyuM che ke ApaNA prAcIna kavionI eka viziSTatA che ke teo potAnI sAmAjika sthitine kAvyamAM vaNI letA. A dRSTie te samayanA samAja darzana mATe AvAM kAvyo najara bahAra na rahevAM joIe. jaina samAja aneka phirakAomAM vaheMcAyelo che enuM samarthana yathArtha rIte thayuM che. jo ke AvuM kathana kvacita ja thayuM che. bAkI emanAM kAvyo bhaktirasathI bharapUra che. IzvaraghelAne loko zuM kahe ? pAgala ja ne ? bhakti-dhunIne loko pAgala kahe evo vicAra teo vyakta kare che paNa kharA : darizaNa darizaNa raTato je phiruM, to raNa rojha samAna. paNa samAjanA DarathI badhA nahi. temane tarata ja khyAla Ave che ke Izvara-rAgIne duniyA sAthe zo saMbaMdha ? sAcA bhaktane Avo vicAra na hoya. tarata ja umerI de che ? jehane pipAsA ho amRtapAnanI, kiMma bhAMje viSapAna ? abhinaMdana jina darizaNa tarasIe. jaina darzanamAM dareka viSayanuM sUkSmAtisUkSma avalokana thayuM che. emAM jeTaluM buddhigrAhya che eTaluM ja e Urmi-pradhAna che. syAdvAda matathI sAmA pakSanI lAgaNIno vicAra karavAno avakAza maLe che. eTale emanA prati udvega thavAne badale prema, mitrI ke kAruNya pragaTaze. jema jaina tattvajJAna dareka viSayane UMDANathI sparze che, tema jaina kavioe kAvyamAM Urmine sUkSmadraSTithI avalokI che. A sUkSmadaSTimAM jainetara kavio ane jaina kaviomAM thoDoka pharaka che. anya kavioe zrIkRSNanI lIlAnAM bayAna Urmisabhara karyo che, emanA guNagAna gAyAM che; jyAre jaina kavioe guNagAna kIrtana karavA uparAMta, apratima bhakti chatAM, jyAre Izvara upakAraka na thato hoya tyAre mITho upAlaMbha ApatAM kAvyo ApyAM che, agara to ApaNI bhaktimAM kayAMka jUnatA che, eTale AtmanirIkSaNa kare che. mITho upAlaMbha ApavAmAM mohanavijayajI, yazovijayajI, cidAnaMdajI vagere mokhare che; jyAre AtmaniMdAnA bIjA

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140: zrI mahAvIra jaina vidyAlaya suvaNamahotsava carthI prakAramAM devacaMdrajI, kumArapALaviracita AtmaniMdA vagere AgaLa che. ApaNe mohanavijyajIthI zarUAta karIe : ziva pada devAM ja samaratha cho, to yaza letAM zuM jAya ? ho prabhujI! oLabhaDe mata khIje. eTaluM kharuM ke jaina stavano, sajajhAyAdi prAcIna chaMdo ke akhAnI mAphaka chapAmAM racAyAM nathI eTale hAla lokabhogya nathI. paraMtu evI rItanA rAga-rAgiNImAM racAyelAM che ke je sAmAnya mANasa paNa gAI zake-enI pravAhitAno AnaMda mANI zake. hAla mAtra jarUra che tevA rAgone pracalita karavAnI. ApaNA saMgItakAro pAsethI ATalI AzA rAkhavI asthAne nahi gaNAya. joke citrapaTa saMgItamAM racyApacyA rahetA jaina yuvako ja A vastune pichAnatA nathI. kSaNika karNapriyatAne varya gaNI, Ama aMdhArAmAM rahelI kRtione opa ApavAnI jarUra che. nIcenA stavanano DhALa juo : bAlapaNe ApaNu sasanehI ramatAM nava nava veze, Aja tame pAmyA prabhutAI ame to saMsAranI veze, ho prabhujI! oLaMbhaDe mata khIje. -mohanavijayajI satayugamAM, jaina paribhASAmAM kahuM to caturtha ArAmAM, loko ghaNA bhakika hatA ane alaukika puruSo vidyamAna hovAthI lokoddhAra tAtkAlika thato. jyAre Aje kaLiyuga--pAMcamo Aro, ane loko mananA melAM, eTale IzvaranI amIdraSTi thAya nahi. A sAme kavinuM hRdaya baLavo pukAre che, ane mIThAzathI kahe che : zrI zubhavIra prabhujI maLe kALe re, dIyaMtA dAna re zAbAzI ghaNI. -bAra vratanI pUjA : 50 vIravijayajIkRta to koI jagyAe hadaya bhaktithI chalakatuM hoya paNa ApaNI lAgaNI ApaNuM vAlamanA khyAla bahAra rahetI hoya evI ApaNane AzaMkA thAya tyAre vinatirUpe vIravijayajInI paMktio juo : bhakti hRdayamAM dhArajo re, aMtara-verIne vArajo re, tAra dInadayALa. --navANuM prakAranI pUjA : 50 vIravijayajIkRta jema zrI vIravijayajI moMghA kALamAM varasyAnI kharI kiMmata AMke che tema cidAnaMdajI paNa A ja vAtane jarA judA svarUpe rajU kare che : moha gaye je tArazo, INa veLA ho kaho tuma upagAra ? sukha veLA sajajana ati du:kha veLA ho viralA saMsAra, paramAtama pUraNa kaLA.

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gujarAtI sAhityamAM jaina bhakitakAvyo H 141 upAlaMbha ApatAM ja ApaNane sanAtana satya ApyuM : "du:kha veLA ho viralA saMsAra !' to yazovijayajI (sAmAnya rIte "vAcakajaza"nA nAme oLakhAtA) tyAre bhaktimAM lIna bane che tyAre pariNAma sAru kevI adhirAI dAkhave che te juo : karajeDI Ubho rahuM rAta-divasa tuma dhyAne re, je manamAM ANa nahi to zuM kahIe chAnI re ? saMbhava jinavara vinati. cidAnaMdajIno nIceno upAlaMbha juo. temAM teo potAnI AjasudhInI paristhiti mATe Izvarane ja javAbadAra TharAve che-potAnI nyUnatAnA svIkAra sAthe ! moha mahAmada chAkathI huM chakiyo ho nAhIM sUdha lagAra, ucita sahI iNa avasare sevakanI ho karavI saMbhALa, paramAtama pUraNa kaLA. A paNa jyAre bhaktane ema lAge che ke anyanI bhakitathI Izvara rIjhe che ane kadAca potAnI bhaktimAM khAmI jevuM jaNAtuM hoya tyAre Izvarane kevI cetavaNI apAya che te juo : sevA guNo bhavijanane jo tame karo baDabhAgI, to tame svAmI kema kahevAzo nirmama ne nirAgI ? - ho prabhujI ! oLabhaDe mata khIje. to ApaNuM priyatama kevo svArthI che e jovA ApaNe pharIthI cidAnaMdajIno samparka sAdhIe : sarva deza-ghAtI sahu aMghAtI ho karI ghAta dayALa, vAsa kiyo zivamaMdire mohe visarI ho bhamato jagajALa, paramAtama pUraNa kaLA. paNa manuSyanI zaktine maryAdA che, e vAta kavio paNa visarI nA zake. ApaNAthI IzvaranI saMpUrNa kakSAe pahoMcI na zakAya to eno ekAda aMza paNa bhAgI levAno lobha jato kema karAya ? (ApaNA svabhAvanI viruddha): nANuM ramaNa pAmI ekAMte thaI beThAM mevAsI, teha mAMhelo eka aMza je Apo te vAte zAbAzI, ho prabhujI! oLaMbhaDe mata khI. 6 mujane.

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14ra zrI mahAvIra jaina vidyAlaya suvaNamahotsava to ethI UlaTuM, muktinI--enA ekAda aMzanI paNa paravA karyA vinA bhakti-raMgamAM ja racyApacyA rahevAnuM mahopAdhyAyajIne sujhe che, jethI camakapASANanI mAphaka mukita ApoApa kheMcAIne maLe. juo : muktithI adhika tuja bhakita muja mana vasI jehazuM sabala pratibaMdha lAgyo, camaka pASANa jima lohane khIMcaze muktine sahaja muja bhakti rAgo. RSabha jinarAja muja0 A to vAta thaI jene apUrNatA sAthe pratIti pragaTI nathI, paNa jene apUrNatA sAthe saMpUrNa zraddhA hoya tenI zI dazA che tenI. paNa jeNe Izvarane nAtha karyo che, je sanAtha che, emanuM hRdaya kevuM pulakita che e ApaNe mohanavijayajInI paMktimAM joIe : tArakatA tuja mAhe re zravaNe sAMbhaLI te bhaNI huM Avyo chuM dInadayALa je, tuja karuNAnI lahere re muja kAraja sare zuM ghaNuM kahI jANa AgaLa kRpALa jo ? prItalaDI baMdhANuM re ajita jimuMdaNuM AvI ja bhAvanAne upAlaMbha svarUpe cidAnaMdajIe nIcenA zabdomAM AlekhI che: jagatAraka padavI lahI tAryA sahI ho aparAdhI apAra, tAta kaho mohe tAratA kima kInI ho INa avasara vAra? paramAtama pUraNa kaLA. paM vIravijayajI paNa Ama ja kahe che. kadAca Izvara pAse mAgaNI to karIe ane na Ape to? to lAja-maryAdA gumAvavI paDe eTale upAlaMbha svarUpe kahe che : dAyaka nAma dharAvo to sukha Apo re zivatarunI Agere zI bahu mAgaNI? jyAre mahopAdhyAya yazovijayajI to ghaDIka paNa saMga na tajavAnuM kahe che. guNIjanane guNa dharAvatI vyakti sAthe ja pyAra hoya ne? saMgano raMga kevo lAgyo che te juo : kokila kala kUjita kare pAmI maMjarI ho paMjarI sahakAra, ochAM taruvara navi game girUAM zuM ho ho guNano pyAra, - ajita jirNodazuM prItaDI. varNAnuprAsa ane upamA alaMkAra kAvyanI guMjAzamAM oNra vadhAro kare che. AvA mIThA upAlaMbha to jeNe siddhi sAdhI hoya evA mahApuruSo ApI zake. paraMtu ApaNI jevA sAmAnya mANaso game tevA bhaktimAM lIna hoIe chatAM niSphaLa jaIe to? to AtmanirIkSaNa ja saMbhave ne ? devacaMdrajI kahe che :

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gujarAtI sAhityamAM jaina bhaktikAvyo: 143 svAmI darzana samo nimitta lahI nirmaLa je upAdAna e zuci na thAze, doSa ko vastuno athavA udyama taNuM svAmI sevA sahI nikaTa lAze. udyamanI khAmI joI paNa haju ApaNe Daga paNa mAMDyuM nathI eTale vizeSa AtmAvalokana karavuM ja joIe ne? AtmalakSI-AtmaniMdAnA kAvya anukULa bane. juo : rAga dveSe bha, moha gherI naDyo lokanI rItamAM ghaNuM e rAto, krodhavaza dhamadhamyo, zuddha guNa navi racyo bhamyo bhavamAMhI huM viSayamAto, tAra ho tAra prabhu, muja sevaka bhaNI. AtmaniMdA mATe to jainomAM pracalita "ratnAkara parIzI' jevI joIe. AkhI racanA ApaNA hINapatabharyA kartavyanI niMdA karatI che. ekAda kaDI tapAsIe : racanA harigIta chaMdamAM che. huM krodha agnithI banyo vaLI lobha sarSa kazyo mane gaLyo mAnarUpI ajagare huM kema karI dhyAvuM tane ? mana mAruM mAyAjALamAM mohana ! mahA mUMjhAya che, caDI cAra coro hAthamAM cetana ghaNuM cagadAya che. krodha, lobha ane mAnane mATe yojelAM anukrame agni, sarpa ane ajagaranAM rUpako tema ja vanaprAsa alaMkArathI racanA vadhu AkarSaka banI che. kadAca savAla thaze ke Izvara to sarvA che. eTale ApaNAM dareka kartavyono hisAba to enI pAse hoya ja; to pachI ApaNe bayAna karavAnI zI jarUra? bayAna karavAnI jarUra che kAraNa ApaNuM AvAM khoTAM kartavyothI ApaNuM mana bharAI gayuM hoya che. ApaNuM dila haLavuM bane eTalA mATe agara to ApaNuM mana bharAI Ave tyAre ApaNA dilanI vAta ApaNe nikaTane nehIne kahIe tyAre ja nirAMta thAya evA mAnavasahaja svabhAvane ratnAkara paccIzI'nI zarUAtamAM ja kavie Alekhyo che: jANe chatAM paNa kahI ane huM hRdaya A khAlI karuM? taduparAMta Izvarane prItama tarIke svIkAryo che. eTale premI to potAnA priyatamane athathI Iti sudhInuM badhuM varNana kare ja ne ? mohanavijayajI paNa kahe che? aMtargatanI prabhu AgaLa kahuM guMja je, prItalaDI baMdhANI re ajita jijdazuM. uparanI AtmaniMdAmAM te bhUlano ekarAra che. paNa kumArapALaviracita (anu. amRtasUrIzvarajI mahArAja) AtmaniMdAmAM durlabha mAnavadeha maLyA pachI sacetana na thayA, hAtha dhoI nAkhyA, tenuM Alekhana che : bahu kALa A saMsArasAgaramAM prabhu huM saMcaryo, thaI puNyarAzi ekaThI tyAre jinezvara tuM maLyo. paNa pApakarma bharela meM sevA sarasa nava AdarI, zubha yogane pAmyA chatAM meM mUrkhatA bahue karI.

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144 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha jenomAM manuSya maraNapathArIe hoya tyAre khAsa karIne dhArmika rivAjomAM "puNya-prakAza"nuM stavana saMbhaLAvAya che. A stavanamAM durlabha mAnavadehanI saphaLatA kyAre thAya, ApaNe zuM karyuM, vagerenI saravALA-bAdabAkI che. jiMdagInA dhanya divaso kyA ? enA javAba mATe nIcenA bhAvavAhI svara gujAvo : dhana dhana te dina mAro jihAM kIdho dharma..... to zrImad rAjacaMdra ApaNA jevA mATe evo dhanya divasa kyAre Ave enI tIvra IcchA vyakta kare che : apUrva avasara evo kyAre Avaze? kayAre thaIzuM bAhyAMtara nigraMtha che ? sarva saMbaMdhanuM baMdhana tirNa chedIne, vicarazuM kava mahapuruSane paMtha je ? Urmi vastu ja evI che ke je anubhava vinA samajAtI nathI. je loko Umi-vihIna hoya che, jemaNe premAnubhAva karyo nathI hoto, teo sAmI vyaktinI lAgaNI samajI zakatA nathI eTale lAgaNI-veDa kahI tiraskAre che, paNa kharI vastu to anubhave ja samajAya che. juo : rahasyono jJAtA anubhavathI kayAre thaIza huM? eTale jJAtA paNa anubhavathI thavAnI IcchA vyakta karI. anubhavathI jJAtA thavAnI vAta rUci; paraMtu anubhava koNa karI zake ? cidAnaMdajI ApaNane pratyuttara Ape che : paNa tuma darizaNu yogathI thayo hRdaye ho anubhava parakAza, anubhava abhyAsa kare duHkhadAyI ho savi karma vinAza, paramAtama pUraNa kaLA. jena kavionI viziSTatA joyA pachI jaina ane anya kavio vacce samAnatA joIe. jaina tema ja jainetara kavioe amuka viSayanuM nirUpaNa bahu spaSTatAthI karyuM che, chatAM eka ja hakIkatane judI judI DhabathI sahue potapotAnI AgavI kavitA-zaktithI AlekhI che. musAphira ghora nidrAmAM che e mATe juo : uTha jAga musAphira bhora bhaI, aba na kahA~ je sovata hai ? je sovata hai vaha khovata hai, je jAgata hai vaha pAvata hai. cidAnaMdajInuM pada enI sAthe have sarakhAvo : rena rahI aba thorI.7 jAga jAga tuM niMda tyAgI de hota vastunI corI, maMjila dUra bhaya bhavasAgara, bhAna ura, mati morI, 7 thoDI. 8 mArI.

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gujarAtI sAhityamAM jaina bhaktikAvyo : 145 anaMtakALathI A jIvaDo saMsArasAgaramAM rajhaLyo che chatAM 'mAruM' 'mAruM' karatAM thAkyo nathI. A vAtane lagabhaga badhA ja bhaktakavioe kAvyanA viSaya tarIke apanAvI che. kaiM nathI jIva tArI re suMdara kAyA, choDIne cAlyo vaNujhArA re hojI. vaLAvI. -kabIra vairAgyanI sajjhAya : udayaratnakRta abhimAna eka bhayAnaka roga che. vyaktitvavAdanA A jamAnAmAM e roga jyAMtyAM najare paDe che. ete mahAmada kahyo che. madanuM svarUpa samajavA mATe to jainonI bharatakhahubalInI kathA ja tapAsavI rahI. bAhubalIe rAjapATano tyAga karI dIkSA aMgIkAra karI, paNa aham bhAvanA tyAgI nahi. dhora tapasyA karavA chatAM mahAmadane kAraNe sarvajJa thaI zakatA nathI. A vastu samajAvavA mATe jo koI zaktimAna hoya to bhAI ne mATe emanI atula snehala khaheno ja. A vastuno Azaro laI kavi emanI bahenonA mukhamAM A zabdo mUke che : sugra010 * melI de manathI mAruM-tAruM re manavA prabhu vinA koI nathI tAruM, smazAna sudhI tArAM sagAM saMbaMdhI vAlAM AvIne khALe tana pyAruM, re mAnavI ! prabhu vinA koI nathI tAruM. . vIrA ! gaja thakI heThA Utaro abhimAnarUpI hAthI parathI nIce UtaravAnuM kahe che. ' mAna-abhimAna na karo' enuM kAraNa ApaNane yathArtha rIte, mArgadarzanarUpe mAnanI sajhAyamAM udayaratna samajAve che : --pIpA bhagata vAlAM te vAlAM zuM karo, vAlAM voLAvI vaLaze vAlAM te vananA lAkaDAM te to sAthe ja baLaze eka re divasa evo Avaze... A prasaMge gItAno upadeza jarA joI e to ThIka paDaze. sAdhakane mATe gItAjImAM traNa vastu para khAsa bhAra mUkyo che : praNipAta, pariprazna ane sevA. A yugamAM praNipAta eTale namratA, viveka khAsa khyAlamAM rAkhavA yogya che. pariprazna eTale pharI pUchyuM. jijJAsAvRtti e Avazyaka aMga che. jainomAM bhagavAna mahAvIranA mukhya gaNadhara gautamasvAmI jJAtA hovA chatAM ya koIpaNa bAbata saMzaya thatAM bhagavAna mahAvIrane prazno pUchatA e rIte namratA dAkhavavI. sevA vinAnI namratA khuzAmatamAM khape che. eTale sevA Avazyaka che. A badhA mATe mAna-abhimAna choDavAnI jarUra che. re jIva ! mAna na kIjiye mAne vinaya na Ave, vinaya vinA vidyA nahi to kima samakita pAve ...re jIva ! mAna na kIjiye.

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146 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI mAnano bhAI che daMbha. AcAra ane vicAramAM ethI saMvAditA nathI rahetI. cidAnaMdajInI anubhUti ApaNane upakAraka thaI paDaze. kathaNI kathe sahu koI rahaNI ati durlabha hoI zuka rAmako nAma vakhANe, navi paramAratha tasa jANe yA vidha bhaNI veda suNAve, paNa akaLa kaLA nahi pAve. -cidAnaMdajInAM pado : pada aThyAvIsamuM akho paNa kahe che : tilaka karatAM trepana gayAM, japamALAnAM nAkAM gayAM. akhAnI zailI vyaMgamaya-kaTAkSamaya che, jyAre AnaMdaghanajI pratyakSa kahe che te juo : zuddha zraddhAna viNa sarva kiriyA karI chAra para lIMpaNuM te jANo. jaina saMskRta sAhityanI jema jaina gujarAtI sAhitya paNa vizALa che. A avalokana te becAra khyAtanAma kavio pUratuM maryAdita rahyuM che, eTale vizeSa jijJAsuoe to parizrama levo paDaze. eka yA bIjA kAraNothI A sAhitya ajJAta rahyuM che agara jaina samAja pUratuM maryAdita rahyuM che tene ApaNA sAhityakAro-saMzodhako vizeSa prakAzamAM lAvaze evI zraddhA sAthe viramuM chuM.

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stha libhadraviSayaka traNa phAgu kAvyo jayaMta koThArI prAcIna gujarAtInA vipula jaina sAhityano, e sAMpradAyika che ema kahIne, kAMkaro kADhI nAkhI zakAze "nahi. madhyakALamAM nirdeza nirbheLa kavitA kyAM hatI? jainono varga sAmAnya hiMdu vargane mukAbale nAno ane enI paraMparAmAM dIkSAnA mahimAnuM tattva jarA prabaLa jaina kavio je moTe bhAge manio ja hatA-temaNe bahudhA dIkSAno mahimA gAI zakAya evuM ja vastu pasaMda karyuM che; athavA vArtAnAyakane dIkSA ApyA vinA emane cena paDyuM nathI), tethI emanuM sAhitya vadhAre sAMpradAyika lAge che. jenetara hiMdu paraMparA vadhAre paricita, tethI emAM sAMpradAyikatA dekhAtI nathI. paNa e paraMparAnuM sAhitya paNa dhArmika prayojanavALuM to che ja. jaina kavio jainetara kavione mukAbale bahu vitta nathI dekhADatA e sAcuM che chatAM jaina kavio jUnI bhASA vAparatA hovAne kAraNe, ke pelA sAMpradAyikatAnA pUrvagrahane lIdhe emanuM yogya mUlyAMkana thavAmAM aMtarAya Avato hoya evuM to thatuM nathI ne, e tapAsavA jevuM che. dhArmikatA ane sAMpradAyikatAne ullaMghIne paNa kavitva pragaTa thaI zake-jema madhyakALanA ghaNuM kavionI bAbatamAM banyuM che. narasiMha, mIrAM, akho, premAnaMda, dayArAma jevI pratibhAvALo koI jaina kavi najare caDato nathI (jainetara sAhityamAM paNa chaThTho koI kayAM che ?) paNa nAkara, dhIra, bhoje, prItama ke svAmInArAyaNa saMpradAyanA kavio jeTaluM vitta batAvanAra jaina kavio nahi hoya e mAnavA jevuM jaNAtuM nathI. chatAM ApaNA sAhityanA adhyayanamAM jaina kavio ane sAhitya upekSita rahyAM che e hakIkata che. prathama paMktinA vidvAnonA vivecanane je lAbha akho, premAnaMda, dayArAma jevAne maLyo che te koI jaina kavine maLyo jaNAtuM nathI. bhAlaNa, nAkara, narapati, zAmaLa vagerene ApaNe abhyAsamAM je sthAna maLatuM rahyuM che tevuM koI jaina kavine bhAgye ja maLyuM che. vipula pramANamAM sAhityasarjana karanAra lAvaNyasamaya tathA samayasundara jevA kaviono sAMgopAMga abhyAsa thavo haju bAkI che. sAhityanA itihAsamAM paNa viziSTa jaina kRtio ane kaviono pUrato paricaya karAvavAmAM Avato nathI. hA, narasiMha pUrvenA jaina sAhityano kaMIka vigate paricaya karAvavAmAM Ave che, kemake e vakhatanuM jainetara sAhitya alpa pramANamAM che! ghaNuM jaina sAhitya hajI sudhI aprakAzita che. dayArAme paNa sAMpradAyika sAhitya ghaNuM

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148 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha lakhyuM hatuM, paraMtu enI sAcI kavitA lokoe jhIlI lIdhI ane abhyAsIoe ene lakSamAM rAkhI dayArAmanuM mUlyAMkana karyuM. jaina kavitA saMpradAya bahAra jhilAya nahi e samajAya evuM che, paNa akhUTa jaina sAhitya bhaMDAramAMthI sAcI kavitAnI vINaNI karI, enuM yogya mUlyAMkana karavAnuM kAma ApaNe karyuM nathI. jena sAhityanuM A rIte saMzodhana-saMpAdana thaze tyAre, saMbhava che ke, bIjI haroLanA keTalAka sArA kavio ane temanAM kAvyo ApaNane maLaze. jaina kaviono hetu dharmapracArano hovA chatAM emaNe e pracAranA sAdhananI pasaMdagI vizALa kSetramAMthI karI che. emaNe mAtra jaina paurANika kathAono ja Azraya lIdho che evuM nathI, lokavArtAnA akhUTa khajAnAne emaNe upayogamAM lIdho che. vaLI, jainetara paurANika AkhyAna-vastuno upayoga karavAnuM paNa e cUkyA nathI, jyAre jainetara kavioe jaina kathAvastune hAthe ya aDADyo nathI. jenA saMpradAya to navIna hato. eNe lokasamudAyane AkarSavA mATe lokasamudAyamAM pracalita kathAvArtAsAhityano upayoga karavo rahyo. jainetara kavione AvI jarUra na paDe te samajAya evuM che. arvAcIna yugamAM ApaNuM kavioe prAcIna kathAvastuno Azraya laIne emAMnA rahasyabIjane svataMtra daSTithI joI vikasAvyuM hoya evuM ghaNIvAra banyuM che, paNa ahIM paNa emanuM lakSa moTe bhAge hiMdu kathAsAhitya tarapha ja gayuM che. kayAreka emanI daSTi bauddha kathA-sAhitya tarapha gayelI paNa jovA maLe che. paraMtu viziSTa jena kathAone sArA kavino pratibhAsparza maLyo hoya evuM jANyAmAM nathI. keTalIka jaina kathAonI kSamatA A dRSTie tapAsavA jevI gaNAya. AvI kSamatAvALI eka kathA sthUlibhadranI che. snehanAM baMdhanamAM baMdhAI jyAM bAra varSa gALyAM hatAM e koza vezyAnA AvAsamAM vRlibhadra, munize, cAturmAsa gALavA Ave che. sthUlibhadrane mATe A kevo nAka ane kaTokaTIbharyo kALa haze ! priyatamanuM svAgata karavA thanaganI UThelI kozAe kevAM aNadhAryA saMvedano anubhavyAM haze ! rAga-virAganA saMgharSe kevAM kevAM rahasyamaya rUpa dhAraNa karyo haze ! AvI bIjI be kathAo-alabatta jainetara-jANItI che. eka rAjA bhartRharinI, jemaNe hadayarANI piMgalAno, "mayi sA viraktA" evuM karuNa bhAna thatAM, tyAga karyo ane eka divasa ene ja bAraNe bhikSaka banIne AvI UbhA. bIjI bhagavAna buddhanI, jemaNe jagatanA du:khanI jaDIbuTTI zodhavA priya yazodharAne sUtI mUkI mahAbhiniSkramaNa AdaryuM ane eka divasa jagatanA banIne enI sAme AvI UbhA. A kathAomAM tyAga karatAM punarmilananI kSaNa vadhAre romAMcaka, dhArmika ane rahasyamaya che; kemake tyAre nUtana jIvanadizA, nUtana abhijJAna ane nUtana saMbaMdhanAM dvAra khUle che. A kSaNa bhAre zakyatAvALI hoya che paNa enI zakyatAne maulika rIte jevI-khIlavavI e ghaNuM ja duSkara kArya che. kozAnI ja sAme, kozAnA ja AvAsamAM, vasAhAra karIne kAmavijya siddha karanAra sthalibhadra jainonA eka atyaMta AdaraNIya AcArya che. emanA viSe prAcIna gujarAtImAM ghaNAM kAvyo lakhAyAM che. kadAca nemarAjulaviSayaka kAvyo pachI saMkhyAnI dRSTie sthUlibhadraviSayaka kAvyo AvatAM haze. paNa dekhItI rIte ja neminAthanA karatAM yUlibhadranA jIvananI ghaTanAo vadhAre bhAvakSama che. sthUlibhadra 1 zrI jayabhikhkhae jaina paurANika sAhityamAMthI vastu laI navalakathAo lakhI che. zrI maDiyAnI ekabe vArtAomAM jaina kathA-prasaMgono upayoga thayo che. paNa A banne lekhake jainadharma che. A sivAya paNa thoDuM lakhAyuM haze kadAca, paNa viziSTa sarjakatAvALI koI kRti kharI ?

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sthUlibhadraviSayaka traNa phAgukAvyo: 149 rAgImAMthI virAgI bane che; neminAthane rogayukta jIvana jIvavAno avasara Avato nathI. syulibhadrane rAgabharI kozAno sAmano karavo paDe che; Avo sAmano neminAthane karavo paDato nathI. rAjulane neminAtha pratye ekaniSTha-kadAca bhaktibhAvanI hade pahoMcato-sneha che paNa enAmA kozAnA jevI prabhutA, vidagdhatA, taravarATa ke Aga nathI. uparAMta, sthUlibhadravRttAMtane enA pitAnAM jIvananI abhuta, rasika ane romAMcaka prasaMgonI bhUmikA paNa maLI rahe che. Ama vRttAntanA judA judA aMzane uThAva ApIne racanAvaividhya darzAvI zakAya. evI sAmagrI sthUlibhadravRttAMtamAM rahelI che. thayuM che paNa evuM ja. madhyakAlIna gujarAtInAM yUlibhadraviSayaka kAvyomAM keTaluM badhuM svarUpavaividhya dekhAya che! emAM kozAnA udagAro rUpe nAnakaDAM UrmigIto che, sthUlibhadranI prazastirUpa, ke vairAgyabodhanI sajhAya che, kozAnA vipralaMbhazaMgAranA varNananAM bAramAsI kAvya ane navarasa kAvyo che, ISita kathAtaMtuno upayoga karatAM phAguo ane zIyaLavelI che tathA vistRta kathAprapaMcavALA rAsa paNa che. eka ja vastune aneka kavio hAthamAM le tyAre dareka kavinI najara e vastunAM kyAM biMduo para Thare che ane ene e kevI rIte vikasAve che enuM samAMtara avalokana karavuM rasaprada thaI paDe. paNa pratinidhirUpa kRtio pragaTa na thaI hoya tyAMsudhI AvuM avalokana adhUruM ja rahe. tethI ApaNe ahIM nAme eka ja kAvyaprakAranI, paNa racanAnuM vilakSaNa vaividhya darzAvatI traNa ja kRtionuM tulanAtmaka nirIkSaNa karIzuM. e traNa kRtio cheH (1) jinapadmasUrikRti sthUlibhadra phAgu (saM. 1390-1400), (2) jyavaMtasUrikRta yUlibhadakozA premavilAsa phAga (saM. 1614 AsapAsa), (3) mAladevakRta skUlibhadra phAga (vikramanA 17mAM zatakano pUrvArdha). phAgune ApaNe vRttAntane svalpa AdhAra laI prakRtinI-khAsa karIne vasaMtaRtunI bhUmikAmAM mAnavapraNayanuM Alekhana karanAra kAvyaprakAra kahI zakIe. A vyAkhyAmAM na AvI zake evI "phAgu" nAmanI saMkhyAbaMdha kRtio maLatI hovA chatAM, ziSTa namUnArUpa phAgukAvyonuM AMtarasvarUpa A vyAkhyAnI nikaTanuM hoya che ema jarUra kahI zakAya. jaina phAguo, A vyAkhyAnI aMdara rahIne ke bahAra jaIne paNa keTalIka AgavI lAkSaNikatAo upajAve che e noMdhavA jevI che. eka to, jaina phAguono aMtima uddeza, emAM ratinuM Alekhana keTalIkavAra to gherA raMge thatuM hovA chatAM, ApaNane virati tarapha laI javAno hoya che. AthI jaina phAguo zuddha zRMgArakAvyo banI zakatAM nathI. kAvyano viSaya ke emAMnI ghaTanA ja saMyamadharmanI bodhaka hoya che, jema ahIM sthalibhadranuM caritra saMyamadharmanuM bodhaka che. chatAM jinapadmasUri jevA sthalibhadranA kAmavijayanI saMkSepamAM prazasti karI, ke ene mukhe saMyamadharmano mahimA pragaTa karI aTakI jAya che, tyAre mAladeva jevA "nArIsaMgati TALo" evo sIdho upadeza ApavA sudhI paNa pahoMcI jAya che. to vaLI jayavaMtasUri jevA A bAbatamAM atyaMta noMdhapAtra rIte judA tarI Ave che. emanuM kAvya pUlibhadra-kozAnA milana AgaLa aTakI jAya che eTale kAmavijaya darzAvavA sudhI to e juo, "jaina gurjara kavio" bhA. 1, 2, 3mAM pAchaLa kRtionI sUcimAM. e mAhitI joke apUratI ane azuddha paNa che. 3 traNe kAvyo "prAcIna phAgu saMgraha (saMpA. DaoN. bhogIlAla sAMDesarA ane somAbhAI pArekha)mAM kamAMka (1), (26), (28)thI spAyelAM che, ahI e saMpAdanano ja, pAThAMtaro sAthe, upayoga karyo che. anuvAda kayAMka mukta paNa karyo che.

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150 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha pahoMcyA ja nathI. AkhuM kAvya kozAnA virahoddagAra rUpe hoI tyAM paNa vairAgyabodhane avakAza nathI. ahIM sudhI to ThIka, paNa AzcaryakAraka vAta e che ke A jaina muni kAvyane aMte phalazruti darzAvatAM "A kAvya gAtAM pratidina svajanamilananuM sukha maLaze" evo AzIrvAda paNa Ape che! "vasaMtavilAsa" jainetara kRti gaNavA mATe emAMnA viratibhAvanA abhAvane ApaNe mahatva ApIe chIe. paNa koIka jaina kavi, kyAreka to, viratibhAvanI vaLagaNamAMthI mukta thaI zake che enuM A kevuM javalaMta daSTAMta che ! A kavi AraMbhamAM mAtra sarasvatInI ja stuti kare che (bIjAM banne kAvyomAM sarasvatInI sAthe sAthe pArzvajinendranI paNa stuti thayelI che) e paNa jaina kavi sAMpradAyikatAmAMthI keTalI hade mukta thaI zake che enuM eka sarasa dRSTAMta che. sthUlibhadra-kozA nAmanI vyakitaone emaNe vipralaMbhazRMgAranA Alekhana mATe AdhAra rUpe lIdhI eTalI emanI sAMpradAyikatA gaNavI hoya to gaNI zakAya. vairAgyabhAva darzAvavA mATe phAgukAvyanA nAyaka tarIke koI jaina muninI ja pasaMdagI karavI jaina kavione vadhAre anukULa paDe che. AmAMthI ja jaina phAguonI eka bIjI lAkSaNikatA janme che. jene munio to rahyA viraktabhAvavALA. emano vasaMtavihAra kema AlekhI zakAya? AthI jaina phAguomAM vasaMtavarNana Ave tyAre e kAvyanI mukhya ghaTanAnI bahAra hoya che; jemake nema-rAjulanAM phAgukAvyomAM vasaMtavihAra nema-rAjulano nahi paNa kaThaNa ane enI paTarANIono AlekhAya che ! keTalIkavAra to vasaMtaRtune badale varSARtunI bhUmikA svIkAravAmAM Ave che, kemake jaina munio cAturmAsa eka ja sthaLe gALatA hoya che. ahIM jinapadvari ane bhAladevanI kRtiomAM prasaMga varSARtumAM ja mukAyelo che. jayavaMtasUrie vasaMtaRtunI pIThikA lIdhI che, paNa e ema karI zakyA enuM kAraNa e che ke emaNe dhUlibhadranA Agamana pahelAMnI kozAnI virahAvasthAnuM ja varNana karavA dhAryuM che, jena kAgaonI trIjI lAkSaNikatA kAvyamAM zaMgAranA sthAna ane svarUpamAM rahelI che. jene phAgukAvyone zRMgAra bahudhA vipralaMbhazRMgAranA svarUpano hoya che. nAyikA premaghelI hoya paNa nAyaka je saMskAravirakta hoya to saMyogazRMgAra kema saMbhave ? pariNAme ekapakSI prema ane emAMthI skurato abhilASanimittaka vipralaMbhazRMgAra jaina phAgukAvyomAM jovA maLe che. ghaNIvAra to AvA premabhAvanI abhivyakita dvArA zRMgArarasa skuTa karavAne badale aMgasaundaryanAM ane vastrAbhUSaNonAM varNanomAM ja jaina kavioe zRMgArarasanI paryApti mAnI lIdhI che. saMyogazRMgAra kyAreka jaina phAguomAM Ave che, paNa tyAre e paNa vasaMtavarNananI peThe kAvyanA mukhya prasaMganI bahAra hoya che. nemarAjulanA phAguomAM, AgaLa kahyuM tema, kRSNa ane enI paTarANIonAM saMyogazRMgAranAM citro AvatAM hoya che, paNa rAjulanuM to mAtra saundaryavarNana ja! yUlibhadra to kozAne tyAM bAra varSa rahyA hatA chatAM, e veLAnA saMyogazRMgArane kendramAM rAkhI phAgukAvya lakhavAnI koI jaina kavie hiMmata karI nathI! eTale sthalibhadra viSenAM phAguomAM to nirapavAda rIte vipralaMbhazRMgAra ja Ave che. prastuta traNe phAguomAM paNa evuM ja thayuM che. phera eTalo che ke jayavaMtasUri kozAnA hRdayabhAvone ja vyakta kare che, jyAre bAkInA baMne kavionAM kAvyomAM bhAvanirUpaNa karatAM saundaryavarNana ghaNuM vadhAre sthAna roke che. madhyakALamAM kAvyano prakAra ghaNIvAra enA AMtaravarUpa uparathI nahi, paNa ekAda bAhya lakSaNa uparathI nizcita thato. kALakAvyane nAme bodhAtmaka, mAhitI darzaka ke stotrarU5 racana ApaNane maLe che, kemake emAM phAgunI dezane nAme oLakhAtI duhAbaMdha prayojAyelo hoya che. AMtarasvarUpanI daSTie phAgu kathanAtmaka karatAM vizeSa to varNanAtmaka ane bhAvanirUpaNAtmaka hovuM joIe. chatAM

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sthUlibhadraviSayaka traNa phAgukAvyaH 151 kathana, varNana ane bhAvanirUpaNanuM A tAratamya badhAM phAguomAM ekasarakhuM raheluM jovA maLatuM nathI. nAnakaDAM UrmikAvyathI mAMDIne vistRta lokavArtA ke rAsAnA vastune vyApatI racanAo sudhInuM vaividhya phAgumAvyo dharAve che. ApaNuM avalokanaviSaya traNa phAguo A prakAranA vaividhyanA lAkSaNika namUnArUpa che. TUMkamAM kahevuM hoya to ema kahevAya ke mAladevanuM kAvya mukhyatve kathanAtmaka che, jinapadmasurinuM mukhyatve varNanAtmaka che ane jayavaMtasUrinuM mukhyatve bhAvanirUpaNAtmaka che. A traNe kAvyonI vastupasaMdagIne ane ethI kAvyanI saMdhaTanA para paDelI asarane ApaNe jarA vigate joIe sthUlibhadranA jIvananI mukhya ghaTanAnI AsapAsane kathAsaMdarbha ghaNo vistRta che e vAta AgaLa thaI gaI che. sthUlibhadranA pitA mahAmAtya zakaTAla ane paMDita vararuci vacce khaTapaTa thAya che; ene pariNAme kuTuMbane bacAvavA zakaTAla jAte potAnA putra zrIyakane hAthe hatyA vahorI le che; kozAne tyAM bAra varSathI rahetA sthalibhadra pitAne sthAne maMtrIpada svIkAravAne badale A banAvone kAraNe saMsArathI virakta thaIdIkSA le che eka cAturmAsa kozAne tyAM gALI, saMyamadharma pALI, kozAne upadezI pAchA vaLe siMhanhAmuni skUlibhadra pratyenI irSAthI kozAne tyAM cAtumasa gALavA jAya che ane kozAne lIdhe ja saMyamadharmathI paDatA bacI jAya che; kozAne rAjA eka rathikane sope che ane kozA ene skUlibhadranA apratima kAmavijayanuM bhAna karAve che; duSkALa paDatAM saMghanI AjJAthI sthalibhadra bhadrabAhu pAsethI vAcanAo meLave che ane bahenone siMharUpa dekhADavAne doSayukta AcAra e karI bese che... keTalo badho avAMtara kathArasa yUlibhadranA samagra vRttAntamAM rahelo che ! paraMtu A to rAsane yogya vastu che, ene phAgunA maryAdita pAtramAM kevI rIte samAvI zakAya ? chatAM mAladeve potAnA phAgumAM A prayatna karyo che. Avo prayatna niSphaLatAne vare to emAM kaMI navAI nathI. mAladeve 107 kaDI sudhI kAvya vistAryuM hovA chatAM emAM kyAMya kathArasa jAmato nathI, prasaMgone kevaLa ullekha karIne emane cAlavuM paDe che, adhUrI vigatone kAraNe prasaMgo UbhaDaka ane aspaSTa lAge che ane sthUlibhadranI kathAthI je paricita hoya teo ja AmAMthI kathAno badho taMtu pakaDI zake evuM banyuM che. eka dRSTAMtathI kavinI prasaMganirUpaNanI zailIno khyAla AvI jaze. rAjAnA avizvAsathI kuTuMbano vinAza thaze evI AzaMkAthI zakaTAla potAnA putra zrIyakane (zrIyaka rAjAno aMgarakSaka hato) rAjAnI sAme ja potAnI hatyA karI, rAjAnI prIti meLavavA ane kuTuMbane bacAvI levA samajAve che. zrIyakane pitRhatyAnuM pAtaka na lAge mATe zakaTAla jhera laIne rAjadarabAramAM jAya che. tyAM zrIyaka enI hatyA kare che. mAladeva A prasaMgane zakaTAlanI "yukti "no moghama ulekha karI zrIyakanA kArya viSe gerasamaja thAya evI rIte saMkSepathI patAvI de che : potAnA kulane bacAvavA maMtrIe eka yukti karI, e rAjasabhAmAM AvyA tyAre zrIyake emanI hatyA karI.* prasaMgone kAvyamAM levA, ane emane yogya nyAya Apavo nahi enuM pariNAma zuM Ave? kAvya nirarthakatAmAM ane niHsAratAmAM aTavAI jAya. chatAM mAladevanuM kAvya sAva nisAra che evuM nathI. kozAne ghare sthalibhadranuM Agamana thAya che e bhAgamAM A kRti kAvyasaundarya dhAraNa karatI dekhAya che. varSAnuM ane kozAnA saundaryanuM varNana kavi jarA nirAMtathI kare che ane kozAnA utkaTa anurAgane vyakta karavAnI thoDI taka paNa le che. paNa AthI to kAvyanA bAkInA kathanAtmaka bhAgothI A bhAga judo paDI jAya che ane kAvyanuM saMyojana visaMvAdI banI. 4 kula rAkhaNake ApaNuM, maMtrI maMtra upAyo re, zarII maMtrI mArI3, rAjasabhA java Ayo re. 18

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152 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha jAya che. sthUlibhadranA kAmavijayano mahimA paNa kavi pAMcasAta kaDImAM vistArIne gAya che. Ama, kAvya ekasarakhI ke sapramANa gatie cAlatuM nathI ane kAvyanA rasAtmaka bhAgane chAI denAra nIrasa kathananuM prAcarya kAvyanA potane DhIluM banAvI de che. paNa A parathI eka vAta samajAya che, ane te e ke, AvaDI moTI kathAne AkhI ne AkhI phAgukAvyamAM utAravAno koIpaNa prayatna edo banI jAya. ene badale sthUlibhadra-kozAnA milanaprasaMga upara ja dhyAna kendrita karavuM joItuM hatuM. jinapadmasurie A sAdI samaja batAvI che. kozAne tya sthUlibhadra Ave che tyAMthI ja emaNe kAvyano AraMbha karyo che ane sthUlibhadra cAturmAsa gALI, saMyamadharmamAM aDaga rahI, pAchA phare che tyAM kAvyane pUruM karyuM che. pUrvavRttAntane game tema vAcakane mAthe mAravAnI nahi paNa eno kalApUrNa upayoga karI levAnI AvaData paNa kavi pAse che. kozA-sthUlibhadranA khAra varSanA snehanI vAta kavi cheka sthUlibhadra sAthenA saMvAdamAM kozAne mukhe mUke che! kathAtattvano Avo saMkoca karI nAkhyA pachI varNana ane bhAvanirUpaNa mATe A 27 kaDInA kAvyamAM paNa kavine pUratI mokaLAza rahI che. AkhuM kAvya sarasatAnI eka ja kakSAe--bhale madhyama kakSAe----cAle che. kAvyanAM badhAM ja aMgoprAraMbhika bhUmikA, varSAvarNana, kozAnA sauMdaryanuM ane aMgaprasAdhananuM varNana, sthUlibhadra sAtheno eno vArtAlApa, sthUlibhadranI aDagatA ane eno mahimA--sapramANa che. rasa pAMkho paDI jAya evo vistAra nahi ke rasa pedA ja na thAya evo saMkSepa paNa nahi. kozAnuM saundaryavarNana jarA lakhAyeluM lAge paNa ethI kAvya pAMkhuM paDatuM nathI. kozA-sthUlibhadrano saMvAda TUMko lAge, paNa jevo che tevoye e vyaktitvadyotaka che. ekaMdare kavinI vivekadRSTino A kAvya eka suMdara namUno khanI rahe che. dhImI, paNa dRDha gatie AkhuM kAvya cAle che ane ApaNA citta para eka suzliSTa chApa mUkI jAya che. madhyakALamAM mAtra phAguomAM ja nahi paNa sarva kAvyaprakAromAM kAvyanAM aMgonI paraspara samucita saMdhaTanA pratye javalle ja dhyAna apAyuM che, tyAre ApaNA pahelA phrAjhukAvyanA kavie batAvelI A sahaja sujha AdarapAtra atI rahe che. jinapadmasurie vRttAntane saMkocyuM, to jayavaMtasUrie vRttAntano lopa ja karyo ema kahI zakAya. virahiNI kozAne sthUlibhadra maLyA eTaluM ja vRttAnta A kAvyamAM~~ane te paNa chevaTanA bhAgamAM--Ave che. kozAnI virahAvasthAnA eka ja biMdu upara kavinI kalpanA TharI che. moTA vistArane badale eka ja biMdu upara pravartavAnuM AvyuM hovAthI e enA UMDANano tAga paNa laI zakI che. pariNAme A kAvyanI AkRti AgaLanAM banne kAvyo karatAM badalAI gaI che. kAMThe vanarAjano vaibhava ane mAMhe rUpALA rAjahaMso ane manohara kamaLo--evA suMdara sarovaranA jevI racanA AgaLanAM ane kAvyonI hatI. A kAvyanI racanA pAtALakUvA jevI che... ekalakSI che. paNa eno artha emAM ekavidhatA che evo nathI. pAtALakUvAmAMye aneka saravANIo phUTatI hoya che. kavi kozAnA hRdayanI aneka bhAva-saravANIonuM ApaNane darzana karAve che. badhI saravANIo jema pAtALakUvAnA pANIbhaMDArane poSe che tema A badhA saMcAribhAvo paNa kozAnA sthAyI virahabhAvane samRddha kare che. AkhuM kAvya kozAnA udgArarUpe lakhAyeluM che tethI emAM kazuMye ' bahAranuM' paNa rahetuM nathI. Rtucitro Ave che, paNa kozAnA vipralaMbhazRMgAranI sAthe vaNAI gayelAM che. kozAnA dehasaundaryanAM ke zRMgAraprasAdhananAM ' bAhya ' vanone to ahIM avakAza ja kyAM rahyo? kAvya kevaLa AtmasaMvedanAtmaka hoI, kathana, varNana ane bhAvanirUpaNunuM saMtulana jALavavAnI ciMtA paNa kavine rahI nathI. paNa ethI A kavine kaMI racanAzakti batAvavAnI nathI evuM nathI. bhAvane ghUMTI ghUMTIne kavi umra banAve che ane badhA bhAvone virahazRMgArane samupakAraka rIte saMyojI sarasa paripAka taiyAra kare che.

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sthalibhadraviSayaka traNa phAgukAvyo H 153 kavitva kavinA saMprajJAta prayojanathI svataMtra vastu che. kavitAsarjana sivAyano hetu hoya tyAM kavitA na ja sarjaya, ke kavitAsarjanano hetu hoya tethI kavitA sarjAya ja evuM kaMI nathI. kharI vastu to aMdara paDelI sarjakatA che. madhyakALamAM kayo kavi kAvya sarjavAnA prayojanathI pravRtta thayo hato ? chatAM e aMdara paDelI sarjakatAe ja emanI racanAomAM kavitA ANI che. A traNe jaina munioe syulibhadranA vRttAMtane dhArmika hetuthI ja hAthamAM lIdhuM haze emAM bahu zaMkA karavA jevuM nathI, chatAM ethI emanI kRtiomAM kavitAnI zodha karavI vRthA che evA bhramamAM paDavAnI paNa jarUra nathI. vRttAMtanI pasaMdagI ane enA saMyojanamAM A kavio je kaMI sarjakatA batAve che e ApaNe joyuM, eTale have kAvyamAM abhivyaktinI kalA e kevIka batAve che te joIe. madhyakALanA kavio vastupasaMdagImAM, prasaMgavarNanamAM, alaMkAromAM ane bhAvanirUpaNanI laDhaNamAM paraMparAno ghaNo lAbha uThAve che-eTalo badho ke keTalIkavAra emanI maulikatA vivAdAspada banI jAya che. paNa paraMparAno upayoga karavAmAMye vivekanI ane rasadaSTinI jarUra paDe che ane paraMparAno upayoga karavA chatAMye sAcA kavinI kalpanAzakita achatI rahetI nathI. A kavione paNa paraMparAno lAbha malyo hoya e pUratuM saMbhavita che. mAladevanAM ane jinapadmasUrinAM varNanomAM saMskRta kAvyanI AlaMkArika chA dekhAya che ane jayavaMtasUrinA kAvyamAM kyAMka "vasaMtavilAsa"nA to kayAMka mIrAMnI kavitAnA bhaNakArA saMbhaLAya che. chatAM A traNe kavio paraMparAne svakIya banAvIne pragaTa kare che, keTalAka maulika unmeSo paNa batAve che. rasadRSTie emanI kRtione tapAsavAno zrama eLe jAya tema nathI. mAladevanI pAse kathanalA nathI, paNa kavitva che. varSARtunuM TUMkuM paNa surekha ane svaccha varNana, kozAnA saundaryavarNanamAM jhabakatI keTalIka ramaNIya tAjagIbharI kalpanAo ane kozAnI prItijhaMkhanAnI kAvyamaya abhivyakti AnI sAkSI pUre che. kozAnA saundaryavarNanamAM rUDha upamA-uprekSAo ThIkaThIka che; chatAM kalpanAnuM ane ukitanuM je vaividhya kavi lAvI zakyA che te noMdhapAtra che. kavinI citrazakti ane vAgnidagdhatAnI pratIti keTalIka paMktio karAve che ja: enA zyAma keza zobhI rahyA che ane mAMhI apAra phUlo eNe gUMthyAM che : jANe ke zyAma rajanImAM nAnA tejasvI tArako camakI na rahyA hoya ! eno coTalo to jANe enA yauvanadhananI rakhevALI karatI kALI nAgaNa! AMkhamAM eNe kAjaLa sAryuM ane ujajavaLatAne aMdhAragherI karI nAkhI : je pArakAnA cittane duHkha Ape tenuM moTuM kALuM ja karavuM joIe. 7 potAnuM hRdaya premathI chalakI rahyuM che paNa sthalibhadra te parvata jevA acala che- AvA ekapakSI 5 zyAma keza ati sohatA, the kula apAra re, zyAma rayaNamAhi camakatA, yota sahita tanu tAri re. 36. 6 zyAma bhuyaMga yU veNI, yauvanadhana rakhavAlI re. 40 7 navanihiM kAjala sArIu, yAne aMdhera ujayAlo re, citta parAI je dukha devaI, tinya mukha kIji kAlo re. 48

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154: zrI mahAvIra jaina vidyAlaya suvarNamahotsava svastha premanI vyarthatAnuM duHkha kevuM asAdhAraNa hoya ! kozAnA udgAromAM daSTAMtaparaMparA yojIne kavie enA anurAgane ane e anurAganI vyarthatAnA duHkhane kevI sacoTa abhivyakti ApI che !- ekAMgI snehathI kaMI raMga jAme nahi, dIvAnA cittamAM sneha nahi ane pataMga baLI baLIne mare.' mUrkha madhukare ekapakSI sneha karyo, ketakInA manamAM neha nahi ne bhramara rasalIna thaIne maryo. cAtaka ane ghananIranA jevI ekAMgI prIti koI na karazo. sAraMga mukhathI piyu piyu bolyA kare che paNa medha kaMI enI pIDA jANato nathI." kozAnI avasthAmAM ghaNI bhAvakSamatA che. paNa kathA karavAnI ane saMyamadharmano mahimA gAvAnI utAvaLamAM kavie AthI vadhAre lakSa enA tarapha ApyuM nahi. kozA rAjavArAMganA hatI. enAmAM vArAMganAne sahaja evuM vANInuM ane vyavahAranuM cAturya hoya. A kavi ja, siMhaguhAmuni kozAnA saundaryathI lubdha bane che e vakhate, kozAnA vyaktitvanA e aMzane uThAva Ape che. kAmAsakta muninI e kevI mazkarI uDAve che-"dharmalAbhathI ahIM kaMI kAma thatuM nathI; ahIM to arthalAbha joIe.' potAnI prItine cheha denAra sthalibhadra pratye A kozAe kaMI vyaMgabANa pheMkyAM nahi hoya ? ene phosalAvavApaTAvavAno prayatna nahi karyo hoya paraMtu A kavi to kozAnA hadayanA eka ja bhAvane vyakta karIne aTakI gayA che. mAnavasahaja saMvedano ke koI AMtarasaMgharSa vaMdanIya jaina sAdhumAM jaina muni-kavio na Alekhe e samajI zakAya evI vAta che. paNa kyUlibhadra te kevuM sAhasa karavA nIkaLyA hatA ! emanI sAhasavRttine, emanI khumArIne, emanI nizcalatAne mUrta rUpa ApI zakAya. kozA pratye emanuM hadaya saheja bhInuM hoya ane emanAmAM sAdhusahaja yA ane komaLatA paNa hoya. sthUlibhadranuM caritrAlekhana A rIte jIvaMta banAvI zakAya. paNa A kavinI kalpanA tyAMsudhI gati karI zakatI nathI. kozAnI mohinImAM aDola ajeya rahenAra sthalibhadranI mUrti ja emanA cittamAM vasI che, ane koIpaNa prakAranA nATyAtmaka rUpane abhAve (kavie sthUlibhadrane jIbha paNa nathI ApI !) sthUlibhadra sAce ja ahIM eka mUrti jevA - pRtaLA jevA lAge che. avAMtara prayojano kAvyane pragaTa thavAmAM kevAM vigharUpa thatAM hoya che enuM A kAvya eka udAharaNa che. yathArthatA, aucitya ane pramANabhAna ke saMyama e kavi jinapadyasUrinA mukhya guNo che. padArthane citrarUpe ane prasaMgane nATyAtmaka rUpe kalpavAnI emanAmAM daSTi che ane zabdanI sUkSma zakti tarapha 8 eka aMgakaI neharaI, kacha na hovaI raMgo re, dIvA ke cittimAMhe nahIM, jala jali ari pataMgo re, eka aMgaku neharu, murakhi madhukara kanu re, ketakI ke manahIM nahIM, bhamara mari rasa-lINa re. 10. neha ekaMga na kIjII, jiu cAtaka dhana-nIra re, sAraMga pIu pIu mukha boli, meha na jananaI pIra re. 60,

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sthUlibhadraviSayaka gaNuM phAgumAvyA : 155 emanuM lakSa che. sAdA akRtrima ravAnukaraNathI paNa ApaNAM AMkhakAnane varSonuM vAtAvaraNa kavi kevuM pratyakSa karAvI de che !- jharamara jharamara jharamara megha varase che, khaLakhaLa khaLakhaLa khaLakhaLa pravAho vahe che, jhabajhaba jhabajhaba jhabajhaba vIjaLI jhabake che, tharathara tharathara tharathara virahiNInuM mana kaMpe che. 11 ravAnukArI zabdaprayoga a85 mAtrAmAM hoya to ja madhura lAge, kavie e maryAdA jALavI che. uparAMta, kavinA prakRticitranI eka bIjI lAkSaNikatA ahIM dhyAna kheMce che. traNa paMktimAM varSAnuM vAtAvaraNa AlekhI cothI paMktimAM kavi e vAtAvaraNamAM virahiNInA cittanI je avasthA thAya che ene Alekhe che. eTale ke prakRticitranI ahIM kazI svataMtra sArthakatA nathI; mAnavabhAvane arthe ja kavi prakRticitrane yoje che. AkhuMye varSovarNana vipralaMbhazRMgAranI sarasa pIThikA banI rahe che : jema jema megha madhura gaMbhIra svare gAje che tema tema kAmadeva jANe ke potAnuM kusumabANa sajaja karI rahyA hoya tema lAge che; jema jema ketakI maghamaghato parimala prasarAve che tema tema kAmI puruSa potAnI priyatamAne page paDIne manAve che. jema jema zItala komala surabhiyukata vAyu vAya che tema tema gavamaMDitA mAninI nAcI UThe che; jema jema jalabharyA vAdaLa AkAzamAM ekaThAM maLe che tematema kAmIjananAM nayanamAM nIra jhaLahaLI UThe che13 kevuM saMkSipta chatAM sarvagrAhI nirAbharaNa ane sahajasuMdara A prakRticitra che ane kavie mAnavahRdaya sAthe eno kevo kAvyamaya saMbaMdha prasthApita karI Apyo che! kozAnA aMgasauMdaryanA ane vastrAbhUSaNanA varNanamAM kavie AvI ja yathArtha zailImAM AraMbha karyo che. kozAnA hRdayahAranA laDasaDATano, pAyalanA raNakArano, kaMDalanA jhagamagATano ane AbhUSaNona jhaLahaLATana kavi eka kaDImAM ravAnukArI zabdaprayogathI ApaNAM AMkha-kAnane anubhava karAvI de che, 12 11 briuimara jharamara jharamara e meha varasaMta, khahala khalahala khalahala e vAhalA vahaMti, jhabajhaba jhabajhaba jhabajhaba e vIjuliya jhabakaI tharahara rihara rihara e virahiNabhaNa kaMpaI. 6. mahuragaMbhIrasaraNa meha mijima gAjete, paMcabANaniya kusumabANa tigatima sAjaMte, jimajimaketakI mahamahaMta parimala vihasAvaI, timatima kAmi ya caraNa lagi niyaramaNi manAvaI. 7. 13 sIlakomalasurahi vAya jima jima vAyaMta, mANamaDamphara mANasa ca tima tima nAcaMte, jima jima jalabharabhariya meha gayasaMgaNi miliyA tima tima kAmI taNAM nayaNa nIrahi jhalahalicA. 8,

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156 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava paNa pachI teo haLavethI alaMkAramaMDita vANamAM sarI jAya che. kavie yojelA alaMkAromAM anurUpatA che paNa avanavInatA nathI. keTalAka alaMkAro sAmAnya paNa lAge. chatAM kavinuM satata dhyAna kozAne madanarasanI mUrti tarIke nirUpavA tarapha rahyuM che e eka noMdhapAtra hakIkata che. kozAnA varNanamAM avAranavAra pharakI jatI upamA-uprekSAo juo eno veNIdaMDa te jANe madanakhaga, enA payodhara te jANe kusumabANe mUkelA amRtakuMbha, enA karNayugala te jANe madananA hiMDoLA, enA Uru te jANe madanarAjanA vijayastaMbha, enA nakhapalava te jANe kAmadevanA aMkuza ! A alaMkArono eka ThekANe khaDakalo nahi karatAM AkhA varNanamAM verI daIne kavie ekavidhatAno ke kRtrimatAne bhAsa thavA dIdho nathI. - sthUlibhadra-kozAnA milanano prasaMga nAthyocita che. A kavinI najare e nATyocitatAne kaMIka pArakhI che. kozA-sthUlibhadranA TUMkA paNa atyaMta mArmika saMvAda dvArA emaNe rAga-virAganI AchI athaDAmaNa rajU karI che. eka bAju premaghelI vidagdha nArI che, bIjI bAju che saMyamadharmI, paNa kozAnI sAthe vivAdamAM UtaravA tatpara munivara. A nATyAtmaka rajUAtane kAraNe kozAnuM caritra ApaNI kalpanAmAM mUrta AkAra le evuM banI jAya che, to syulibhadramAM paNa kaMIka sajIvatA lAge che. pahelAM nI kAmAtine pragaTa kare che : "he nAtha ! sUrya samAna tamAro deha mArA dehane satAve che ane pUrvahanI yAda ApI dhUlibhadrane upAlaMbha Ape che: "bAra varSano sneha tame zA kAraNe choDI dIdho? AvuM niSpharapaNuM mArI sAthe kema AcaryuM? " yUlibhadra jayAre kahe che ke, loDhuM ghaDyuM mAruM haiyuM tArAM vacanothI bhIMjAze nahi (loDhe ghaDeluM paNa haiyuM to che !), tyAre kozA potAnI du:khita dazA AgaLa karIne dInabhAve anurAganI yAcanA kare che. paNa sthabhika to nizcala rahe che. emanuM citta to, e pote kahe che tema saMyamazrI sAthe bhoga ramavAmAM lAgeluM che. A chellI vAta sAMbhaLI kozA pratyutpanna bhatithI eka tIrNa bhaMga kare che : "aho, loko navI navI vastumAM rAce che ema kahevAya che te sAcuM karyuM. juone, tamArA jevA munivara paNa mane mUkIne saMyamazrImAM Asakta thaI gayA!' munivaranA ja rUpakane kozAe munivara pratye ja kevI caturAIthI pheMkayuM ! pachI paNa kozA je pralobhana Ape che emAM paNa enI caturAI dekhAI Ave che. e kahe che : "pahelAM yauvananA phaLa rUpa upabhogana AnaMda bhogavI lo; pachI sukhethI saMyamazrI sAthenuM sukha mANajo. eno avasara to yauvana gayA pachI paNa raheze ne!" kozAnuM vyakitatva kevuM prANavAna che ! kavi vANInI sUkSma zaktinA jJAtA che ema ApaNe AraMbhamAM kahyuM hatuM. nirAbharaNa ke AlaMkArika varNanomAM, nAdavyaMjanAmAM ke bhAvavyaMjanAmAM kavinI vANI kevI saraLatAthI ane samarthatAthI pravarte che te have pratIta thayuM haze. aMtamAM sthalibhadranA kAmavijayane yuddhanA rUpakathI kavi Alekhe che tyAM emanI vANInuM ojas paNa pragaTa thAya che. kavinuM dhArmika prayojana ahIM spaSTa ane pragaTa che ja, chatAM enI sAthe kAvya kevuM nivine pragaTa thaI zake che e A kRti ApaNane batAve che. jyavaMtarinuM ekamAtra lakSya kozAno hadayabhAva che. jyavaMtasUrinI kozA priyatamane mATe jhUratI eka sAmAnya virahiNI strI che. enI viziSTa vyakitatAno kavie lopa karI nAkhyo che. paNa e virahiNI strInA utkaTa premAnubaMdhane kavie viziSTa vyaktitA arpI che kharI-e utkaTa premAnubaMdharUpI hIradoramAM suya, unmattatA, AzAbhaMga, Atmanirveda, roSa, vyAkuLatA Adi bhAvonAM motI gUMthIne. A sarva bhAvone vaLI bhinna bhinna saMdarbho, nimitto, vibhAvo, pratIko ane ukitalaDhaNothI vyakta karI emaNe potAnA kavikarmano paNa paricaya Apyo che. e paricaya ja ahIM karavA jevo che.

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sthUlibhadraviSacaka traNa phAjhukAvyo : 157 vasaMta Ave che ane virahiNI strInuM auAya jAgI UThe che. A utsukatAne kavi kevI vANIbhaMgIthI vyakta kare che ane ene kevA kevA anurUpa prakRtisaMdarbhamAM mUkI Ape che te juo : vanamAM vasaMtaRtu gahagahatI AvI, kusumAvali parimalathI mahekI UThI, manohara malayapavana vahevA lAgyo ane priyane jANe UDIne maLe ema thavA lAgyuM 14. UDIne priyane maLavAnI AkAMkSAne mATe prasaratA parimala ane vahetA malayapavanano saMdarbha kevo kAvyamaya ane pratIkAtmaka banI rahe che ! autsukyano bhAva kavi etraNavAra hAthamAM le che paNa ene ghUMTIne ghero banAvatA jAya che. eka vakhata e virahiNIne lokalajjAno tyAga karIne priyanI pAchaLa pAchaLa bhamavAnuM mana thAya che, to jI vakhate enI kalpanA unmatta banIne pelA popaTane pukArI rahe che : popaTa, raste jatAM huM tane lAkhalAkha kesUDAM ApIza, jo ekavAra tuM mane tArI pAMkha prasArIne mArA sajananI pAse pahoMcADI de !15 dhRSTatA ane ghelachAnA bhAvo ausuyanI sAthe kevA gUMthAtA Ave che! A to navayauvanA che. e jANe che ke : yauvanakALe ene viraha keTalo vasamo lAgato haze! kavi prakRtinI saMyogAvasthAnA virodhamAM enA A virahane mUkIne enI viSama vedanA pragaTa kare che : vela upara kuMpaLa pharIne Ave che, pharIpharIne caMdra paNa Uge che, paNa premalatAnA kanda samAna yauvana pharIne AvatuM nathI.1 6 16 khIjI vakhate jAgrata avasthAnA A viyogane kavi svapnAvasthAnA saMyogane paDache mUke che. jAgrata satya che, ane svapna to che mithyA. A mithyAnI jALamAM phasAtI strInuM virahadarda UlaTAnuM gheruM banI jAya che. mithyA milana racAvI ApatAM svapnone e roSapUrvaka kahe che : tarUvara ane velIne AliMgana detAM joI te citta kSubhita thaI jAya che. bharayauvane priyatama vegaLo che ane ene kSaNa paNa vIsarI zakAto nathI,17 14 vasaMta Rtu vina Anyu gahegaDI, piramalai kusumAvila mahumahI, malacA vAya manohara vAI, 15 kesUDAM paMthi pAlave, sUDA dauM tujhe lAkha, praunai UMDI malauM ma thAi, 3 eka vAra mujha meli na sarjana pasArI pAMkha. 36 valI re kuMpalaDIya velaDI, valI valI UgaI caMdra, paNa na le gayu yovana, premalatAnuM kaMda. 5 17 taru aravela AliMgana dekhiya sIla salAya, bharayauvana priya vegala, khaNu na visArIo jAI. 5

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158 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava cantha re pApI dhutArAM svapno, mArI mazkarI na karo. sUtAM tame mane saMyoga karAvo cho paNa jANuM chuM tyAre to viyogano viyoga ja! 18 svapnano vibhAva A kavinI kalpanAno kevo maulika unmeSa che! kozAe to snehajIvana mANeluM che. enA cittamAM Aje enAM smaraNa UbharAya che. e divaso kevI rIte jatA hatA ? priyatamanI sAthe rUsaNAM ane manAmaNAM, lADa ane rIsa, ane sadAno saMyoga. e bharyAbharyA snehajIvanane sthAne Aje narI zunyatA aMtarane pholI rahI che. strIsahaja upamAnathI A karuNa sthitiviparyayane e nArI vAcA Ape che : vivAha vItye jevo mAMDavo tevI kaMtha vinA huM sUnI thaI gaI chuM.19 pheravI palaTAvIne, bhinnabhinna saMdarbho ane vibhAvothI virahAvasthAne kavi kevI citramaya vicitramaya abhivyakti Ape che ! kozAne eka vAta samajAtI nathI : pANI vinA sarovara sukAI jAya tyAre haMso bicArA zuM kare? paNa jenA ghare managamatI gorI che ene videzamAM kema gamatuM haze ? 20 priyatamanI A udAsInatA enAthI sahana thatI nathI, ane tethI te krodhanI mArI krUra lAge evuM abhizApavacana uccArI bese che ke, "je sneha karIne eno tyAga kare enA para vIjaLI paDaje." paNa aMte ene A pariNAmane mATe prema ane prema karanAra hRdaya ja gunegAra lAge che: "hRdaya, paradezI sAthe prIti tai zuM joIne mAMDI ?" chatAM prIti kaMI enA hRdayamAMthI khasatI nathI. A avatAra to eLe gayo evI hatAzA ene gherI vaLe che, ane sadA saMyogasukha Ape evA avatAranuM enuM citta kalpanA karI rahe che. huM paMkhiNI kema na sarajAI ke priyatamanI pAse pAse bhamatI to raheta; huM caMdana kema na sarajAI ke priyatamanA zarIrane suvAsita to karate; huM phUla kema na sarajAI ke ene AliMgana to karI raheta; huM pAna kema na sarajAI ke enA mukhamAM suraMge zobhI to raheta. 21 18 pApI re dhutArAM suhaNaDAM mujha myuM hAsuM choDa, karaI voha jagAvInai sUtAM muMkaI Di. 16. 19 vIvAha vatao mAMDave tama huM sUnI kaMta. 20. 20 sakaI sarovara jala vinA, haMsA kiyuM re karesi, jasa para gamatIya geraDI, tasa kima gamaI re videza. 8. 21 huM sidha na sarajI paMkhiNa, jima bhamatI prIuM pAsa, huM siI na sarajI caMdana, karatI priyatanuM vAsa. 31. huM siM na sarajI phUlaDAM, letI AliMgana jANa, muhi suraMga ja zobhatAM, huM siMi na sarajI pAna. 3ra.

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sthUlibhadraviSayaka traNa phAgukAvyo H 159 virahiNInA hRdayanA aTapaTA AMtarapravAhone kavi kevI jhINavaTathI jhIlI zakyA che! avasthA mAtra virahanI, chatAM bhAvasRSTi kevI samRddha ane vaividhyasabhara che! A bhAvasRSTinA bodhaka anubhAvo paNa kavie jhINI najarathI joyA che ane ApaNI samakSa mUkayA che. emAM virahanI mUka vedanAthI mAMDIne enI kALajhALa pIDA sudhInI sthitine vyakta kare evA anubhAvo che. e gorI kSaNamAM AMgaNe to kSaNamAM oraDe UbhI rahe che; kayAreka raDyA kare che; enI AMkha ujAgare rAtI che; caMdana, caMdra ke vIMjhaNo enA tApane bujhAvI zakatA nathI; zamyA to jANe agni, kAMTA, kaucAM ke loDhAnI banelI hoya, cIra jANe zarIrane cIrI rahyAM hoya, sAMkaLA jANe jaMjIra samAna hoya evuM lAge che; rAtre yauvanamaMjarI mahekI UThe che, paNa e to nisAsAothI potAnI kAyAne bALI rahI che (yauvanamaMjarInuM mahekavuM ane nisAsAthI kAyAne bALavI-kevI krUra vidhivaktA !); zarIra pAMDura ane piMjara jevuM banI gayuM che. bhUkha, tarasa, nidrA, dehanI sAnabhAna badhuM priyatamane ApI dIdhuM che ! priyatama maLavAno na ja hoya to A badhA sahanatapanano zo artha? paNa nA, kozA kahe che: Dila upara duHkha vahorI laIne, vahAlA, huM tane maLIza.22 A nizcaya ane enI pAchaLa rahelI AMtarapratIti aMte phaLe che ane bhale niveze paNa, sthUlibhadra kozAne AvAse Ave che. ene joIne kozAnA hRdayakamalano vikAsa thAya che ane vanarAji jema madhumAsane, tema kozA potAnA kaMthane pAmIne adhika ullAsavaMta bane che. sAcuM zuddha kavitva anya prayojanone potAnI pAsethI kevAM haDaselI mUke che enuM A kAvya eka suMdara udAharaNa che. jayavaMtari jevA sAcA kavine zodhIne bahAra lAvavAno samaya have pAkI gayo che. emanA sthalibhadra-kozA premavilAsa phAga ane jinapadrasUrinA dhUlibhadra phAgu jevAM ApaNI kalpanAjIbhamAM svAda mUkI jAya evAM pAMcapacIsa kAvyo maLe to ye vipula jainasAhitya phaMphosyAno zrama sArthaka thaI jAya. 22 Dila upara dukha AgamI vAhalA tujha milesi. 35.

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yaza vijaya nI kavitA hasita ha0 bUca janma uttara gujarAtanA kanhotu gAmamAM (I. sa. 1623), ane anazana dvArA prANatyAga madhya gujarAtamAM DabhoI gAme (I. sa. 1687). mahopAdhyAya nyAyAcArya kavizrI yazovijayajInA e samaya vize matabheda to che. ukta samaye emanA ja samakAlIna kAntivijayajIe racelA "sujasevelI rAsane AdhAre svIkArAya che. paraMtu kavinA guru zrI navijyajIe AlekhelA eka citrapaTanI pupikAnA AdhAre kavisamaya I. sa. 1589thI 1687no aMdAjAya che. kavinI chellI racanA "jabUsvAmI rAsanI prata kavitAthe ja lakhelI maLe che. emAM racanAsAla I. sa. 1983nI apAI che. kavie pote lakhelI svaracanAonI pothIo sArI saMkhyAmAM maLe che, tema emanA gurue utArelI kavinI kRtionI prato ya prApya che; chatAM kavinI janmasAla spaSTa thaI na kahevAya. hAla to e sAla kavicaritranI vigata ApatA sujalI rAsane AdhAre svIkAravI ucita che. saMskRta, prAkRta, hiMdI, mAravADI ane gujarAtImAM "zrI nayavijaya vibudha payasevaka' kavi jasovijayanI kRtio savAsothI ya vadhu che. emAM emanI vidvAna, vicAraka, dharmajJa tathA kavi lekhenI zakti pragaTa thAya che. zAstra ane tarasUjha para yazovijayajInI kalamanI siddhi evI mugdhakara nIvaDI che ke emane "bIjA hemacaMdra", "ladhu haribhadra" ke jaina saMpradAyamAM " zaMkarAcArya" jevuM sthAna dharAvanAra tarIke biradAvAyA che. emanI samanvayazakita, jaina-jainetara maulika graMthonuM emanuM dohana, pratyeka viSayanA mULa lagI jaIne e viSe potAno mata samabhAvapUrvaka ane spaSTa rIte rajU karavAnI emanI rIta, sahu jijJAsuone potAnA kaThina ane sarala vicAro pahoMcatA karavAmAM emanI saphalatA, saMpradAyanA chatAM enAM baMdhanonI tamA tajI nirbhayapaNe abhiprAya ApavAnI emanI zaktine yAda karI 50 sukhalAlajI kahe che ke, jaina yA jainetara samAjamAM yazovijayajI jevI viziSTa vidvAna hajI sudhI emanA dhyAnamAM Avela nathI. teo e paNa umere che ke A kathanamAM koI atizayatA nathI. "jaina darzanane navya nyAyanI relImAM mUkIne apUrva kArya karanAra yazovijayajIne zrI dalasukhabhAI mAlavaNiyAe "jaina darzana vize aMtima pramANarUpa" varNAvyA che. emanI gujarAtI bhASAmAM labdha thatI kRtio vicAratAM

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yazovijayanI kavitA : 161 kahI zakAya ke madhyakAlIna gujarAtI sAhityamAM bodha, kalpanA, bhAva ane ciMtanathI zobhatI emanI racanAo avazya AkarSaka ane AdarapAtra che. stavana sajhAyanAM TUMkAM geya pado ke saMvAda-rAsa rU5nI dIrgha racanAomAM A "tAkika ziromaNa'-'nyAyAcArya nI kavitvazakita satata jhaLakyA karatI jaNAze. evI keTalIya paMktio maLe, jemAM jaNAI Ave ke A kalama kavinI, ke pachI kahevuM ja rahe, ke A mijAja ja kavino. I. sa. 16paramAM racAyelo emano "dravyaguNuparyAya rAsa" adhyAtmatattvanI jenavicAraNAne nirUpe che. saMskRtamAM eno anuvAda thayo che. "jabUsvAmI rAsa'nuM vyavasthita saMpAdana to prAramaNalAla cI. zAhe have suprApya karI ApyuM che. anya kavino "zrIpAla rAsa" paNa emaNe- kavi yazovijayajIe-pUro racI Apyo che. "gUrjara sAhitya saMgraha"nA be graMthomAM (saM. bhadraMkaravijaya) yazovijayajInAM stavano-sajhAyo-saMvAladi kRtio paNa sulabha che. A lekhamAM emAMnAM stavana, sajajhAyo, saMvAdanI racanAo vize vicAraNAno Azaya che. samudra-vahANa saMvAda' A gucchanI manorama ane bodhaka kRti che. I. sa. 166 1mAM ghoghA mukAme racAyelI A saMvAdaracanAmAM "vAcaka jazavijaya"nI upadezaka zakti kavitAnI kalA sAthe AkarSaka meLa race che. "mata karo koI gumAna"nI zIkha ApavA viSa samudra ane enA garvane gALatA vahANa vacce kavie AkarSaka saMvAda racyo che. "upadeza racyo bhalo' kahIe tevI citraNa, evuM vivAdacAturya, evI anuprAsAdinI yojanA ane evI parokSa jIvanavicAraNuM yazovijayajI A kRtimAM pragaTa kare che. kyAMka suruci na jaLavAya evI vivAdokita kharI, paNa samagrapaNe racanA saphaLa ja kahevAya. samudrane mukhe kavie svagauravanI dalIlo kuzaLatAthI mUkI che, paNa vahANa eno toDa karI svatvanI pratiSThA vadhu asarakAraka rIte kare che. samudra rAvaNanI samRddhi ane lakSmInArAyaNanI zayyA sAtheno nijano saMbaMdha dAkhavI "tAharuM te kula kAinuM paNa saMbhaLAve che; potAnI moTAI varNavIne potA pAse ratno che, gaMgAdine kAraNe pote "tIrathasAra che, ghanaghaTA potAnuM jala laI varase che tethI ja sahunuM hita che ane vahANano janma paNa e kAraNe ja saMbhavita thAya che, candra jevo potAne putra che, ane pote saMtuSTa che paraMtu "bhamyA karatuM vahANa lobhI che" evuM kahI de che. sAme dareka samudaugArano te te kSaNe ja vahANa paNa rokaDo javAba Ape che. e kahe che: "haluA' to ya ame ja bahujanane tArIe chIe pAra utArIe chIe. moTo to UkaraDoya che, paNa kAmano to nAno to ya hIro ja. ratno to che paNa ApatAM bese che mukhaDAmAM'. vaLI tRNa upara ne ratno hoya taLiye evuM to che samudranuM ajJAna !, tarasyAM ya dUra bhAge evuM che enuM jaLa, gaMgAdi ya emAM maLatAM nAmamAdhurya khoI de che; ane kulanI vAta to "je nijaguNe jaga ujajavala kariyo, to kulamadanuM hUM kAja re ?', hajAra nadIoe ya samudranI bhUkha kyAM bhAMgI ? candra putra to ye dUra ja rahyo-te ya kulakalaMka sAthe. vahANanI AvI spaSTa vAtoe pachI to - "ehave vayaNe re, have koI caDyo, sAyara pAmyo re kSobha, pavana jhakole re jala bhara UchalI, lAge aMbara mobha. bhamarI detA re pavana phirI phirI re, vAse aMga taraMga, aMbara vedI re bhedI AvatA, bhAje te girizaMga. "nAMgara troDI re dUri nAMkhIe, phUlataNA jima bIMTa; gagani ulALI re hariI pAMjarI, moDi maMDapa mITi." su0 gra0 11

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112 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava thaW zrI navakhaMDa niNaMdanI kRpAkaruNAthI nAva pAchuM sAjuMnaravuM thaI sAgarapeTa para Ave che. tyAre- "beTA sohe pAMjarI ho, phUA thaMbha agrabhAga, mAnuM ke popaTa khelatA ho, aMbara tarUara lAgi. "eka veli sAyara taNuM ho, dUjI janaraMga relI, trIjI pavananI preraNA ho, vAhaNa cale nija geli." kavi samudranA prakopanuM ane vahANanA navA prasthAne prasanna-samRddha thatI vasatinuM umaLakA-utsAhathI jIvaMta citraNa kare che; paraMtu prabhuprItyartha samRddhi-puruSArtha ja moTAI pAmyAnI vAta paNa emaNe aMte yAda ApI che ja. varNana, vivAda, vArtAlApa ke preraka AzayanI rajUAtamAM samudra-vahANa saMvAda" kavie gujarAtI kavitAmAM umerelI e kaviziSTa kRti che. kavimAM je tarkazakita ane haLavA vyaMganI raga che te ahIM sArI pratibibita thAya che. paNa mukhya vAta to e che ke, kavie Ama karyuM che te kavinI rIte. madhyakAlIna gujarAtI saMvAdakAvyomAM AvA kalAguNe ja A kRti ucca darajaje Ave che. "ghoghA' sAthe yAda karAya che "hIro'; paraMtu A kRtinI prAptithI ApaNe ApaNI e Teva choDIe, to te karavA jevuM kharuM. - bIje ya kavie AvAM daMDa vacce vivAda saMgharSa batAvI sAco rAha dAkhavyo che. paNa emAM vicAraka upadezakanuM emanuM rUpa vadhu jaNAze. tyAM emanI je samanvayadaSTi che ane je arthAntaranyAsI kathanarIti che te lakSapAtra thAya che. A prakAranI katiomAM, cAra DhALamAM gUMthAyelI "zrI zAnti jina stavana' racanAmAM nizcaya ane vyavahAra vacce, to "zrI sImaMdhara svAmI stavanamAM ya e ja be vacce, ane "zrI sImaMdhara svAmInI vinatirUpa stavana mAM naya-rahasya vacce, uparAMta "sImaMdhara jina stavana mAM siddhAnta ane rahasya vacce kavie vaDAI vivAdanI yojanA karI che. mAtra bhAvane ja sevanAra gaLiyA baLada jevA che, bhojana dIThe kaMI bhUkha na bhAMge; tethI "jima jima bhAva kriyAmAM bhalaze, sAkara jima paya mAMhiM; tima tima svAda hoze adhikero." jevo bodha dhyAna dore che. kaSTa thavAthI muni thavAya, to baLada muni pada pAme ja evo bhaMga karIne kavi, ekAntavAsI ahiMsaka bALapavI "na lahe marma agAdha' kahIne jJAna-tapane jIvana sAthe saMbaMdha sUcave che. vacce kyAMka AvAM majAnAM arthAntaranyAsI subhASito ya kavi TAMkI le che : "AMdhA Agale dara paNa dAkhavo, bahirA Agala gIta; mUrakha Agala paramAratha kathA, triNe eka ja rIta." "zrI zAMtinAtha stavana mAM che, tema kavi AvAM virodhAbhAsI valaNano vivejyukta meLa ja iSTa gaNe che. e AtmatatvavicAra para bhAra daIne kavie jJAna vinAnI to dayAne ya khoTI kahI che. e miSe kavikalama AvuM avalokana paNa TapakAvI levuM cUkatI nathIH "viSayarasamAM gRhI mAciyA, nAciyA kuguru madapUra re; dhUmadhAme dhamAdhama calI, jJAnamAraga rahyA dUra re." kavi yazovijyajInI stavana kRtiomAM covIsa tIrthaMkaronI stutinAM pado noMdhapAtra che. emAMnI be covIsImAM Urmi-bhAvanI chaTA ane tIvratA AkarSaka abhivyakita pAmI che. bIjI eka covIsImAM kathana ane caritravIgata saMgraha vizeSa che. kavinA vyaktisabhara stavanamAM, mAtra mahimAskRti nathI tyAM,

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cAvijayanI kavitA : 163 ullAsa, zraddhA, lADa, mastI, TIkhaLa, marma, namratA, dhanyatAdi bhAvonI dRSTAntasubhaga ane subraDa kalpanAzIla rajUAta saMbhAravI game evI thaI che. vividha dezIo--duhA--jhUlaNAmAM vahetI AvI stavanavANI kavie Urmi--saMvedanA-kalpanAzilpathI jIvatI banAvI che. * muhu bhAgyA pAsA DhAlyA'no harSa gAtA yazovijayajI . aMjalimAM jima gaMga na mATe, muja mana tima prabhuheja" gAI prabhusnehanuM avarNanIya RNa mAthe caDAve che. eno raMga lAge tyAM khIjuM zuM game ?--- "mAlatI phUle mohiyo, kima ese ho bAvaLa taru bhRga ?" bhakatanI AvI dazA zIda tANo cho ? ' prabhune jANatA prabhu kRpA na kare, e to kema cAle ? kavi kahe che : ' jANo cho to lADathI mArmika yAda paNa apAI che, ke---- "jaLa diye cAtaka khIjavI, te... medha huo teNe zyAma.' kavi kahe che ke, bAMya grahyAnI lAja tane ja che. haLavekathI kavi kahI paNa de che, ke-- bhAgyuM detAM te kizuM vimAso cha, muja manamAM eha tamAso jI; sAhiba, sAMbhaLo !" AvuM nirvyAja naikayya-lADa A stavanonuM TALuM pAsuM che. tattvavicAranI sanmAnya kRtionI hAramALA ApI gayela A kavi AvA udgAromAM kevI rasika adA dAkhavI zakayA che? kavinI dhanyatAnI vANI ya bharI bharI che : "ame paNa tuma zuM kAmaNu karazuM." prabhune kaMcanakoDI kahetA kavi enA sAkSAtkArane ja ' bhaNue janamano lAho' mAne che. ' hiyaDe jUDI, mukha ati mIThaDI ' mAyAthI mukata karAvavA tethI ja kavi prabhune vInave che. kavi prabhumilananA dhanyatvane varNavatAM kahe che : ' (tame maLyA) te kaLiyuga ame girUo lekhavuM. ' kavine kaliyuga paNa garavo lAge che, kAraNa prabhu temAM maLyA. AvI eka kAvyatvathI aMkita covIzImAM nemi-rAjulanI kathanI gUMthatAM rAjulane moMe---- "utArI huM cittathI re hAM, mugati dhUtArI heta--mere vAlamA, siddha anaMte bhogavI re hAM, tehachyuM kavaNu saMketa--mere vAlamA.' evA mArmika udgAro paNa kaDhAve che. A traNa covIsIomAM je eka covIsI caritrapradhAna che temAM kathana, vIgata, TIpa ane atyukitanI mAtrA phrIka DhIka vadhu pramANamAM che. * viharamAna jinavIzI 'nAM 20 padomAM stavana karatAM karatAM kadI, " moTA-nAhanA aMtaro re, girUmA navi dAkhata" evI mArmika Takora paNa jinezvara sIdharane kare che. vanamAM mora hoya, pachI bhujaMgano bhaya zeno? ''evuM dRSTAMta kavi, e vizvAsane dRDha karavA rajU kare che ke, jyAM prabhu che, tyAM karmanuM baLa zenuM nabhe ? potAnA ' sAhiba sujANa ' prabhune kavi A vizvAse ja kahe che, ke mukha dekhI TIluM kare te pramANa nathI, sahuno mujaro mAne e ja sujANu sAhiba kahevAya. kavinI AvI habharI cImakI AkarSaka banI rahI che.

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164 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thantha vAcaka yazovijayajInA '* jaza--vilAsa ' padasaMgrahamAM ' viziSTa jinastavano ', sAmAnya jinastavanano', ' tema-rAjulanAM gIto', ' AdhyAtmika pado ', ' hariyAlI' vagere saMgRhIta thayAM che. jAte tAraka kahevAya, paNa tare to mAtra pote ja; kahevAya dInayALa, kintu zivamAM bhaLe ekalapaMDa pote ja; evo prabhune upAlaMbha viziSTa stavanomAM ApI kavi pramattatAnI Ula, ekAgratAno orasIo, zraddAnuM caMdanAdinI rUpayojanA paNa kare che. AvAM 39 pado uparAMta 9 'sAmAnya stavano 'mAM paNa karmarUpI bhujaMgathI chUTavA viratimayUrInI prArthanA che, dUranA surataru karatAM chAMya Apato lImaDo vadhu kAmano evI vAstavika dRSTi che, ane * jeha mAMhi tuja darzana mi pAmiuM, te suMdara kalikAla ' evI zraddA duharAvAI che. pAMtrIsa * AdhyAtmika pado'mAM jJAna-vairAgya--bhaktino marma kathAyo che. emAMnA paMcamahAvrata jahAjanA padamAM zIla sukAna, kSamA laMgara, saMtoSano ' sahaDa' jevI rUpakaracanA che. sAco jaina, sajjana, sAco dharma vagerenAM bodhaka pado ya che. jAte ja bhUla karavI ne devo doSa karmane ! mananI sthiratA na hoya tyAM yoga zeno ? khAlI bhasma-muMDana-jaTAthI zuM maLe ?--~AvI svataMtra tavadaSTi paNa temAM che. A AdhyAtmika padonuM viziSTa aMga che ' hariyAlI ' nAmaka padaracanA. A ' hariyAlI 'mAM AraMbhathI ja gUDha avaLavANInI raMgata UchaLe che-- "kahiyo paMDita ! koNa e nArI ? vIsa varasanI avadha vicArI. doya pitAe eha nipAI, saMdha caturvidha manameM AI. kIDIe eka hAthI jAyo, hAthI sAhamo sasalo dhAyo. viSNu dIveM ajavALuM thAye, kIDInA dara mAMhi kuMjara jAye.'' mAtra aThThAvIsa paMktionI A padakRtimAM avaLavANImaDhyAM pratIkonI othe saMtAyela arthabodha- vicAra, bhAvArtha spaSTa paNa karAyo che. cetanA strI, nAnaupayoga ane darzanaupayoga e pitA, hAthI te AtmA, sasalo te karmacetana, mohagrasta na thAya tyAM vinA dIve ajavALuM, kIDI te nigoda, jevI spaSTatA apAI che. racanAdaSTithI ya A ' hariyAlI ' sudhaDa rUpanI che, AvI viziSTa to nahi, paNa * jasavilAsa padasaMgraha'nI eka UrmiMraMgI sArI kRti te nemirAjulanAM sAta gItonI kalagI. tema prabhune vivAha mATe manAvatI horI ramatI nArIo samajAve che : paranA bina 6 puruSa laMDa. ' rAjulanI premapIDA to lAgaNInA gherA raMge vyakata karAI che : "ni:snehIssuM neha je kIdho re, UMgha vecI UjAgara lIdho re." athavA -- kokila kholaI TADhuM mIThuM re, mujha ni to te lAgaI aMgIThuM re; viraha jagAvI virahiNI khAlI re, te pApaI te thaI IM kAlI re." kavinAM padono bIjo samUha te sAyono, arthAt svAdhyAyono. emAM AnaMdadhanastutinI aSTapadI ke ' sAdhuvaMdanA ' samI kRti ya mukAI che. A vibhAgamAM * pAMca gaNadharanA pAMca bhAsa'mAM thoDuM paNa caMdana bhaluM, skrU kIjaI bIjA kAino bhAra ke ?' jevuM anubhavakathana che. jaina dRSTie aDhAra pApo varNavatI sajhAya bodhaka kRti che. 19 DhAlanI * zrI pratikramaNa hetu garbhita' sajjhAyamAM kavi kahe che : "vacana kAyA te to bAMdhIe, mana navi bAMdhyo jAya, he mitta ! mana mAMdhyA viNa prabhu nA mile, kiriyA nikala jAya, he mitta !''

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yazovijyanI kavitA H 165 suratamAM racAyelI A sajajhAyamAM rUpakagarbha TUMkAM daSTAntakathAnako ya che. "bIje paNa daSTAnta che re " jevI gadyALajI lakhAvaTa, kaMIka vadhu pramANamAM patharAyela kathanAtmakatA ane vyAkhyA-vivaraNa ahIM kheMce che. 41 kaDInI "caDyA-paDyAnI sajajhAyamAM bodha che - thoDo paNa jihAM guNa dekhIjetihAM atihiM gahagahII re." 19 kaDInI nAnI "amRtavelI sajajhAya mAM ya e ja vAta che- "thoDalo paNa guNa parataNo, sAMbhaLI harSa mana ANa re." suguru sajhAya nI cAra hAlamAM sugurUnAM lakSaNo ane "kuguru sajhAya nI cha DhAlamAM e ja rIte kugurUne varNavela che. "samakata sukhalaDI nI sajajhAya vAnagImAM "duHkha bhUkhaDalI " bhAMgavAnI che. "tuMbaDAnI sajajhAya"mAM sAdhune tuMbaDuM vahorAvatAM "viparIta AhAra vahorAvAo" ne "vadhAryo anaMta saMsAra" evI rajUAta che. prasaMgAtmaka che A sajhAya. jJAna dvArA ja mukitaprAptino sAra kavi aMte kathe che. stavano-sajajhAyo-saMvAda-padonA A bahoLA pravAhamAM kavi daSTAto-upamAno-paMkitao-bhAvavicArAdinI punaruktithI sarvathA dUra rahI zakayA nathI, tema kavacita Aje arucikara lAge evI dRSTAnta-pratIkanI rajUAta ke madhyakAlIna saMkhyAtizayano moha paNa kavi TALI zakatA nathI. kathanAtmaka prastAra ke vIgata-vizeSaNanI yAdI jevuMya ThIka ThIka jaDe che. paraMtu A vizALa ane vaividhyabharyA gucchamAM kavinI dRSTinI nijI camaka tema emanI abhivyakitanI kuzala hathoTI evI kSatione hisAbe ghaNI vadhAre che. prabhu pratyenA gADha anurAge prerAtI emanI bhAvArka tema ja marmALI ukitao, emAM varatAtI khumArI uparAMta svAbhAvika namratA, AsapAsanI pAmaratA-kSudratAnI nirbhIka caTakalI citraNa, ane dRSTAnAdimAM upasI AvatI emanI saMgIna sUjha ane grAhakadaSTi vAcaka yazovijayajInI viziSTa mudrA darzAve tema che. layameLa padabaMdhanI vividhatA ane vANInI citrAtmakatA ane bhAvArthasUcakatA paNa lakSa doranArI nIvaDe che. IsUnA sattaramA saikAnI ApaNI kavitA A utsAhabharyA kavinI kalame samRddha thaI jarUra kahevAya. enuM svarUpaviSya, enI ramatiyALa ane gahanagaMbhIra abhivyakita, emAMnuM anubhava ane jJAnathI opatuM vastu, ane sauthI vadhu to emAMnI samatola ane sAtvika daSTi evAM che, ke ApaNI madhyakAlIna kavitAmAM yazovijayajInI gujarAtI kAvyaracanAo hamezAM AdarathI saMbhArI zakAya.

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zrI ratnasiMhasUriziSya zrIvinayacandrakRta ANaMda saMdhi (vikramanA caudamA saikAnuM eka apabhraMza kAvya) saMpAdaka: pU0 paM. zrI ramaNIkavijayajI mahArAja rzrIratnasiMhasUriziSya zravinayacandrakRta eka apragaTa apabhraMza kAvya "ANaMdasaMdhinuM saMpAdana ahIM * rajU karyuM che. uttarakAlIna apabhraMza--jUnI gujarAtImAM racAyelI zrIvinayacandranI A be kRtio neminAtha catu padikA" ane "uvaesamAlAkahANa chapaya" sva. zrI cImanalAla dalAla saMpAdita "prAcIna gurjara kAvyasaMgrahamAM (gAyakavADjha oriyenTala sirIjha naM. 13, vaDodarA, sane 1920) prasiddha thayelI hoIe viSayanA abhyAsIone sujJAta che. zrIvinayacaMdrajIe "munisuvratasvAmicarita' racyuM che. emanI bIjI be kRtio "kalpanirukta' (saM. 1335) ane "dipAlikAkalpa'(saM. 1345)mAM racanA-varSa ApeluM hoI teo vikramanA caudamA zatakanA pUrvArdhamAM vidyamAna hatA e nizcita che. "kAvyazikSA", "mahilasvAmicarita' AdinA kartA zrI vinayacandra caMdragacchanA raviprabhamuninA ziSya hoI"ANaMdasaMdhikAra ApaNA vinayacaMdrathI bhinna che. "kAvyazikSAkAra vinayacandra "ANaMdasadhikAra vinayacandranA samakAlina hatA. baMne jaina vidvAno gujarAtanA hatA. ANaMdasaMdhi' e TUMkuM kAvya che. enuM nAma sUcave che tema, emAM bhagavAna mahAvIranA zrAvaka AnaMdano saMbaMdha varNavAyo che. A kAvyanA saMpAdanamAM nIcenI traNa hastapratono upayoga karavAmAM Avyo che : 1. vaDodarA zrI AtmArAmajI jJAnamaMdiramAM zAntasUti zrI haMsavijyajI mahArAjanA saMgrahanI prata (saMjJA hR0). 2. pATaNanA hemacaMdrAcArya jJAnamaMdiramAMnA zrI saMghanA bhaMDAranI prata (saMjJA saM0); ane 3. e ja jJAnamaMdiramAM rakhAyela sAgaragacchanA bhaMDAranI prata (saMjJA sA0). apabhraMza ane navya bhAratIya bhASAonAM prAcInatara svarUpanA abhyAsIone A saMpAdana upayogI thaze evI AzA che. saMpAdaka]

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mANasaMdhi : 17 siri vIra jiNaMdaha, paNayasuriMdaha, paNamavi goyama guNa nihihi / ANaMdu susAvaya, dhammapabhAvaya, bhaiNisu saMdhi Agamavihihi / sattamaha uvAsigadasaha aMgi, sirivIri bhaNiya kAyabvaaMgi / iya pucchai paNamavi jaMbusAmi, ima akkhai gaNaharu suhamasAmi / iya ma~gahadesi vANijagAmi, naranAhu asthi jiyasattu nAmi / gAhAvai nivasai tihiM sataMtu, ANaMdu nAmi sivanaMdakaMtu / kullAgu nAmi tasu taDi nivAsu, ceiya asthi tihiM duiplaasu| siriiMdabhUipabhiihi samANu, tihi samavasariu sirivaddhamANu / vaMdaNaha jAi jiyasattu rAu, ANaMdu vi sAvau suddhabhAu / jiNadesaNa nisuNivi aikatANu, ANaMdu lei parigahapamANu / vajjemi thUla jIvANa hiMsa, aliyaM pi thUla coriya nisaMsa / sivanaMdA viNu majha niyama nAri, dasa dasa ya sahasa goula ciyAri / taha nidhihi kalaMtari vavahAri, majha kaNayakoDi hau cAri cAri / hala sagaDa yANa paNa paNa sayAI, cattAri vahaMtI pavahaNAI / jihImahadaMtaNu maha susAu, abhyaMgi tilla sayasahasapAu / taha surahigaMdhi uvvaTTaNaM ca, jalakuMmihi ahahiM mijjaNaM ca / lUhaNai gaMdhakAsAiyAI, obharaNihiM muddiya-kaNiyAI / toka-agaru dhUvehi dhUva, mAlaiya-paumakusumaha sarUva / kappUra-agaru-kuMkuma-vileu, vrkhomjuylphirnnsmeu| khIrAmalaM ca phala kalamasAli, muga-mAsa-kalAyaha tinni daali| gheuraya khajja piya kahapeya, ghiu~ sarayasamaya gAvi samaya / pallaMki maMDukiya vijaNAI, nehaMbadAli vali timmnnaaii| taMbola paMcasogaMdhiyANu, AgAsanIru iya bhogamANu / avajhANu pamAu vihiMsadANu, vajjemi pAvabuddhihi payANu / iya niyamai leviNu, vIru nameviNu, siMvanaMdaha jAivi kahae / sivanaMda vi rammU , jiNavaradhammU , sAmi pAsi jAivi liyae // 1 // 1 guNanihihiM sN0|| 2 bhaNisuM saa.|| 3 sattamaya hN.|| 4 kAyavya bhaMgi 60 // 5 pucchiu hai. // 6 akhai haM0 sA0 // 7 magahadesa vANijayagAmi haM0 // 8 Asi saM0 sA0 // 9 kulAgu haM0 // 10 tahi hN0|| 11 ikkajhANu saM0 sA0 // 12 vajjevi haM0 // 13 mujhu ha. // 14 gokula haM0 // 15 cyAri cyAri sA0 // 16 vahati saa0|| 17 jiTThImahu saa0|| 18 abhigi haM0 // 19 AbharaNahi muddihiM haM0 // 20 torukkha hN0|| 21 gheuraha khajji saM0 sA0 // 22 dhIu haM0 // 23 gAvahi haM0 // 24 muMDukiya haM0 // 25 pAsi paNamavi liM. haM0 //

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168 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha 2 aha goyama pUcha pahu meu, kiM leseI vratu ANaMdu eu tau akkhai sAmi vi jAvajIvu, ihu kairisaha sAvaidhammadIvu / ho suramANi rammi, sohammi kappi aruNappabhammi tihiM cAri paliya pAlevi Au, egAvayAru tau siddhiThAu / ANaMdu vi caudasa vaccharAI, palevi duvAlasa gihivayAI / ciMtei puvvarattAvaratti, Ayatti majjha bahujaNaha tatti / tA jiNapaNIya dhamme sayAi, mA khalaNu hoi kahavi hu pamAi / iya ciMtiya siri kullAgagAmi, posAla karAvai suddha ThAmi / asaNAra cainvihu ukkhaDeu, jImAvai sayalu vi nayaralou / tau jiTThaputti Arovi bhAru, ANaMdu jAi posahaagAru / tattha hiu mANavi, devahi dANavi, akkhohiyamaNu na vi calae / saMlehiNajuttara, cha varisau tau, sAvayapaDimA so vahaie // 2 // 3 iku mAsa devapUyA tisaMjha, sammattadapaDima aiyAravaMjha / bemAsa suddhabAra savahiM, vayapaDimA pAlai niyayagehiM / sAmAiDa ginhai vAra dunni, puvvutta kiriya sauM mAsa tinni / caupavyatihihi kari uppavAsu, so posaha pAlai cauri mAsa / caupavi cahui niruvasaggu, so paMcamAsa lii kAusaggu / chammAsa baMbhaceraM dharei, saccittu satta mAsA na lei / AraMbhu vivajjai aTTha mAsa, anna vi na karAvai naiva i mAsa / jaM uddisIu tasu resi rahu, dasa mAsa na jImai tamavi suddhu / egArasa mAsA samaNabhUu, lehe~ oghau muhapattI karai lou / maha samaNovAsaga bhikkha deu, niyagoli viharai so akheu / eArasa paDimA ima vaheu, saMlehaNa kariviNu duvihabheu / tavacaraNi aDica mAvasesu, nisi suttu taNaha saMthAraesu / ciMtei dhammajAgariya ratti, jA ajja vi acchai dehakhatti / jayavaMtu dhammaAyariu jAma, aNasaNu karesu hauM itthu tAma / siddhaMtaha juttihiM, sattahiM khittahiM, vittabIu vAvevi ghaNu / aTThAhiya kAriya, saMgha hakAriyA, devapUyavaMdaNakaraNu // 3 // 28 karirasai sA0, karisii saM0 // 26 namevi saM0 // 30 pAlyevi sA0 // 35 lii ogha muhapati sA0 // 36 gouli sA0 govali haM0 // 32 ' jipa || 27 lesyii sA0 // 31 cauvviha haM0 // 33 cyAri sA0 29 aha hosya haM0 // 34 nava vihaM0 // //

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ANadadhi : 169 sugurUNa vAsa sIsahi gaheu, sumarevi paMcaparamiTi devu / ussaggapuvva so sohi lei, sammattamAi vaya uccarei / tA uttimahi so ThAi ThANu, vosarai aThArasa paavtthaannu| cattAri saraNu maMgalu utimma, arihaMta siddha sAhU sudhamma / hiMsA aliu aNadinnu dANu, me hunna pariggahu koha maannu| mAyA i lohu pijja ca dosu, kAlaho vi abhakkhANaM sarosu / araIraI ya pesunnajutta, parivAya mAyamosaM michtt| tiviha tiviha maNa vayaNa kAya, kaya-kAraNANumai paccakhAya / araMhata siddha sAhU. ya sakhi, devANusakkhi appANusakkhi / jaM rayaNakaraMDagabhUu ehu, vosirisu caramaUsAsi dehu| uvasamga deva-mANusa-pasUNa, je huMti sahisu te savi aNUNa / AhAra uvahi duccinnakAmu, te vosirAmi savi jAvajammu / AhAra cauvihu, caiviNu so vi hu, gurumuheNa ghiyaannsnnu| chajIva khamAvai, bhAvaNa bhAvai, taNasaMthAri nisannataNu // 4 // sila mahI lavaNai pu~vikAu, mahi osa karaya hima AukAu / vijjuka agaNi muha teukAu, taliyaMTa phukka dhama vAukAu / patteya sahAraNa vaNasaIu, egidiu khAmiuM savvi khamIu / kimi pura alasa beiMdiyAI, jU maMkuNa kIDa teiNdiyaaii| cauridiya DaMsa masAi macchi, khajjUraya bhamaraya tiDDa viNchi| paMciMdiya jalayara Negabheya, ciDa lAvaya tittira khayara je y| sasa sappa hariNa sUyara aranni, pasu mahisa pamuha thalayara ji anni / nAraiya sattanaraesu saMti, jaM maNuyakhitti mANusa vasaMti / vemANiya joisa viMtarAi, dasabheya bhavaNavAsiyasurAi / bhavamajjhi bhamaMtai maha abhavi, je dummiu khomauM hau~ ti salvi / AsAiu kahavi hu titthanAhu, kevaliya siddha Ayariya sAhu / sAhuNi ya sAvaya sAviyAu, cAritta-nANa-daMsaNaguNA u| taha pANa bhUya jiya satta kAla, AsAiya je maiM guNavisAla / te tiviha tiviha khAmemi puja!, te vi hu khamaMtu avarAhu majjha / AuTTihiM dappihi, taha saMkappihi, maI ji virAhiya kahavi jiya / te savi hauM khAmauM, hauM vi khamAvauM, niMdauM hiva je dukaya kiya // 5 // 37 sAMsaM gadeg saM0 sA0 // 38 sumarai hN0|| 39 vai haM0 // 40 vosirai saa0|| 41 suramma saM0 saa0|| 42 kA haM0 // 43 divvamA sA0 sN0|| 44 soviNu hN0|| 45 puDhamakAya saa0|| 46 karai haM0 // 47 puMyara ii0|| 48 vasaMta sA0 sN0|| 49 khamAuM saM0 hN0|| 50 huM ti sN0||

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170: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava svastha kAlAi aha nANAiyAra, saMkAiya aha dsnniyaar| aiyAra aha cArittacAri, tava bAra tini viiriyiyaari| paMcAiyAra saMlehaNAi, ji vihiya kahavi maI iha pamAi / vaha baMdha pamuha jaM vihiya hiMsa, jaM jaMpiya vayaNaM aliyamissa / jaM thova vi coriya kasu vi vatthu, jaM seviu mehuNa appasatthu / jaM meliu~ parigaha pAvamUlu, jaM hiMDiu disi jima tatta golu / jaMpanarasakammAdANa vatta, bAvIsa abhakkhai jaM ca bhutta / jaM aTTa rudda jhAiyau jhANu, jaM kiddha pAvauvaesadANu / jaM appiu Ukhele-mUsalAi, jaM majjha jUyavaiyara kayAi / sAmAiu jaM kiu sAiyAru, jaM khaMDiu desavagAsa cAru / jaM pancadivasi posaha na kiDu, jaM saMvibhAgu atithihi na diddha / taM niMdauM garihauM tiviha tivihuM, michakkaDu puNu puNu hoi sarvehu / hiMDaMtaha bhavi bhavi, AsaMsAra vi, jaM khaMDiu jaM ca viraahiyu| tasu hau samuMbbhaDu, michAdukkaDu, gurusamakkhu taM grhiyu||6|| jaMgIya-naTTa pikkhaNayasAru, kaya devapUya appayAru / jaM seviu gurujaNa bhattipuvva, kiu vaMdaNa-paDikkamaNAi savva / vihipuvva vihiya jaM titthajatta, ArAhiya sattihiM satta khitta / jaM bhattihi dinnau muNihi dANu, jaM pAliu sIlu vi guNanihANu / jaM bArabheu tavacaraNu cariuM, jaM bhAviya bhAvaNa jhANu dhariu / jaM paDhiu guNiu siddhaMtatattu, ArAhiu daMsaNa anu carittu / jaM dhammakaji uvayariu ehu, mama saMti maNu dhaNu vayaNu dehu / ihajammi annajammaha pavaMci, aNumouM jaM kiya sukiu kiMci / niyakulanahacaMdu, itha ANaMdu, aNumoeviNa sukiya kiu| suhajhANaha kAraNi, bhavaha nivAraNi, bhAvaNa bhAvaI bArasu vi // 7 // bhAvaNa bhAvaMtaha suddhabhAvi, khaNi khaNi muccaMtaha puvvapAvi / saMthAri nisannaha mahapamANu, upyannu tAsu aha ohinANu / itthaMtari viharatu nayari gAmi, tahiM samavasariu sirivIrasAmI / 51 melivi sN0|| 55 subahu hN0|| 59 viharitu haM0 // 52 degla-laMgalAI sA0 sN0|| 53 juvai vairaM sA0 sN0|| 56 mamunbhaDu haM0 // 57 saMtiya taNu maNu vayaNa sA0 sN0|| 54 chaDDiu haM0 // 58 aNumoyauM hN0||

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goyaracari goyamu tahiM phiraMtu, koi pucchai pikkhavi jaNu milaMtu / so kahai ittha aNasaNi pavannu, ANaMdu uvAsau atthi dhannu / taM suNavi jAi tihiM iMdabhUi, tasu sukkhatavaha pucchai sarui / taM namavi so vi vihasaMtadiTThi, iya bhaNai nAha ! ihasNanbhavuddhi | avadhAriu appaNi tumhi pAu, mahu uvari kiddhu guruyau pasAu / tA bhaMjau saMsau aparimANu, gehINa hoi kiM avahinANu 1 / hoi tti bhaNiu sirigoyameNa, ANaMdu paryapai suNaha teNa / hauM pikkhauM joyaNa paNasayAI, puvvAvaradAhiNajalahimAi / himavaMtu jAva uttaradisammi, ahi paDhama naraya uvariM suhammi / aha jaMpara goyama guNanihANu, Aloi paDikkami eha ThANu / jaM avaddinANu gehINa hoi, edUrihiM pidikhaMDa na uNa koi / jaMpai sustAva sacci aTThi, michukkaDu dijai kiM va juTThi / ja jui tA paDikamaNu tumha, aha sacci tu AI dehu amha / inivi goyamunirabhimANu, taM jAivi pucchara vaddhamANu / kahi nAha ! amha bihuM jaNaha mAhi, ko saccavAda ? ko micchavAi ? | ANaMdu saccAI sAhu !, tuha micchavAi ima bhaNai nAhu / suvijhatti jAevi teNa, ANaMdu khamAviu goyameNa / aha caiu dehu aNasaNiNa khINu, sirivaddhamANapayasaraNi lINu / sumaraMtara paMcaparamiDimaMtu, sohammi pattu sivanaMdakaMtu / aruNappabhammi uvavAyasija, aMtomuhutti cauuttarija / battIsavarisa jArisa juvANu, uppanna sattakara dehamANu / taha jaya jaya naMdaya, jaya jaya bhaddaya, ajiya jiNasu jiya pAla ya / amha ajja aNAhaha, tumha huya nAhaha, iya devagaNavayaNa suya // 8 // 60 ANaMdu vi sAvau sA0 saM0 // 64 sumaraMta paMcaparamiTTisammu haM0 // 68 pArijAyAha sA0 saM0 // 69 kelIhara sA0 // 9 uppannu pikkhi vemANideu, paDihAri vinattau paDhamu eu| amha puni jAya tumhi ittha ThAI, tA baMdahu sAsayacehayAI / suru uuu ta tiNi dinna bAhu, pUei namasai titthanAhu / tihiM ca putthai sa~gganIi, saMdhairaii devavavahAru jIi / naMdaNavaNi tiNi sauM deu jAi, tihiM vilasai phulliya vaNaha rAi | saMtANa kappaduma pariyAra, maMdAra pavara haricaMdaNAi | tihiM vAvi rayaNasovANapaMti, kIlahara pikkhai viulakaMti / ANaMdasaMdhi : 171 61 suNau saM0 // 65 vAcai haM0 || 62 aha sA0 // 66 satthanIi sA0 saM0 // 63 pikkhihi haM0 // 67 saMcarai sA0 //

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172 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI itthaMtari Avahi accharAu, pai raNajhaNaMtamaNineurAu / tihi sAhilAsadevaMgaNAhiM, kaMdappidappi thirjuvvnnaahiN| uvagRhiya vivihaneheNa gADhu, so vilasai raisAgaravagADhu / aNamisanayaNu maNakajasiddhi, amilAyamallu akkhuDiyariddhi / nitu naTTa-gIya-pikkhaNaviNoi, kAlaM gamei so samgi loha / sirirayaNasiMha sugarUvaesi, siriviNayacaMda tasu sIsa lesi / ajjhayaNu paDhamu iha sattamaMgi, uddhariu saMdhibaMdheNa raMgi / jaM iha hINAhiu, kiMci vi sAhiu, taM suyadevI maha khamau / iha paDhai ju guNai, vAcai nisuNai, muttiniyaMbiNu so ramau // 9 // // iti zrIvardhamAnaprathamopAsakasya zrI ANaMdamahAzrAvakasya sandhiH samApta / / 70 aNamisyanayaNu sA0 // 71 degpekhaNaviNoi sA0 // 72 sIsilesi he0|| 73 majjha khamau hai / 74 jaM paDhata guNataha, zravaNi suNataha, muttiramaNi taM barau vara sA0 saM0 //

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vAcaka megharAja kRta nala-dava daMtI carita ramaNalAla cI. zAha vikramanA sattaramA zatakamAM naladavadaMtI vize racAyelI rAsakRtiomAM vAcaka megharAje saM. 1664mAM * racelI rAsagRti "naladavadaMtIcaritra'no paNa samAveza thAya che. na rAsane aMte kavie zravaNa RSine potAnA guru tarIke ullekha karyo che. kavie potAnA gacchano spaSTa ullekha A kRtimAM kyAMya karyo nathI, paraMtu teo pArdhacandrasUrithI potAnI guruparaMparA gaNAve che e parathI anumAna thAya che ke teo pArdhacandra gacchanA haze. rAsanI aMtima paMktiomAM kavi jaNAve che: pArdhacandra sUrisara rAjIAi, mahimA jAsa apAra; upadeze jeNe bhavi tAriyAjI, jinazAsana ziNagAra. zrI samaracandra tiNa pATe zobhatAjI. teNe pATe sUrida; rAyacandra sUrisara dIpatA, giruA meru-giriMda. saravaNa RSi jage pragaTiyo mahAmunijI, kIdhuM uttama kAja; te sahI gurunA caraNa namI kahejI, vAcaka zrI megharAja. saMvata soLa causaTha saMvacchare, thavIo naLa RSirAja; bhaNu-gaNaje dharma vizeSajojI, sAratA vaMchita kAja. * * AnaMdakAvyamahodadhinA I. sa. 1914mAM pragaTa thayelA trIjA bhAgamAM vAcaka megharAjano A rAsa chApavAmAM Avyo che. (pR. 310thI 373). A rAsa chApavAmAM te samaye amadAvAdanA DahelAnA upAzrayanI pratano ane amadAvAdamAM zAmaLApoLamAM AvelI zrI haThIsiMgha jaina sarasvatI sabhAnI be pratano upayoga karavAmAM Avyo che. "AnaMdakAvyamahodadhi'nA mudrita pAThane AdhAre ahIM avataraNo ApavAmAM AvyAM che. rA, manasukhalAla kiratacaMda mahetAe "jaina rAsamALA'mAM prastuta rAsa vize ullekha karyo che ke, "naLadamayaMtI. va. saM. 1520. lekhaka medharAja, " paraMtu tyAM saM. 15ra0 lakhavAmAM saratacUka thayelI jaNAya che kAraNake medharAje potAnA rAsamAM saM. 1664no spaSTa ullekha karyo che.

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174 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha A rAsa cha khaMDanI badhI maLIne lagabhaga sADA cha kaDImAM lakhAyelo che. rAsanI zarUAta kavie zrI zAMtinAtha tIrthaMkarane praNAma karIne karI che. AraMbhanI bAreka paMktimAM zrI zAMtinAtha bhagavAnanI prazasti che. emAM paNa bIjI kaDImAM to zrI zAMtinAtha bhagavAnanA jIvananI mahattvanI ghaTanAonI tithio ApavAmAM AvI che. AthI rAsanI zarUAtamAM ja kavitAnI nahi, paNa zuSka hakIkatonI chApa ApaNuM mana upara paDe che. A prazasti kavie vigate gAI hovAthI rAsa vAMcavAnI zarUAtamAM ja manamAM prazna thaze ke kavi naladavadaMtInuM caritra kahevA mAge che ke zrI zAMtinAtha bhagavAnanuM? prathama paDelI A chApa, paraMtu kavi ApaNuM mana parathI tarata ja bhUMsI nAkhe che. AgaLa vAMcatAM, je rIte kavie eka pachI eka khaMDanI racanA karI che te jotAM lAge che ke kavi mAtra kathAkAra ja nathI; emanI pAse asAdhAraNa kavitvazakti paNa che. kavi RSivardhananI jema vAcaka medharAje paNa triSaSTizalAkApuruSacaritra"nI nalakathAne anusarIne naLadavadaMtInA pUrvajanmanI kathAthI rAsanI zarUAta karI che. rAsanA pahelA khaMDamAM naLadavadaMtInA pUrvabhavanI ghaTanAonuM tathA naLa davadaMtInA janma ane uchera, davadaMtIno svayaMvara ane temAM naLane varavuM ItyAdi prasaMgonuM kavie nirUpaNa karyuM che. kavi dareka khaMDane aMte copAInI be paMktimAM te te khaMDanI mukhya ghaTanAono nirdeza kare che. e pramANe pahelA khaMDane aMte kavie lakhyuM che : pUrava pAMca bhavAMtara carI, naLarAje davadaMtI varI. muni megharAja taNuM e vANI, eTale pahelo khaMDa vakhANuM. naLa ane davadaMtI pUrvanA eka bhavamAM mammaNa rAjA ane vIramatI rANuM hatAM. mammaNa ane vIramatI zikAra karavA jatAM hatAM tyAM mArgamAM eka munine jotAM potAne apazukana thayA che ema mAnI teoe munine bAra ghaDI sudhI kaSTa ApyuM tenuM varNana karatAM kavi lakhe che : mArage munivara je mile, vAMdIje kara joDi; dharmalAbha vaLato diye, sIjhe kAraja koDi. tiNe rAye mUrakhapaNe, azukana citta vicAra; sAtha vihI saMtApiyo, munivara ghaTikA bAra. paraMtu pachIthI e munine jotAM temane pazcAttApa thAya che, temanA hRdayanuM parivartana thAya che ane teo munine potAnA ghera teDI jaI temano upadeza grahaNa kare che. A prasaMganuM kavie kareluM prAsAnuprAsayukata varNana juo : saumyavadana RSi nirakhiyo, hiyaDe naravara harakhiyo, parakhiyo sAco munivara e sahI e. pUche nRpa RSi bhAkhone, AvyA kihAMthI dAkhone, Akhone jAso hAMthI kihAM vahI e? aniyata vAsi RSi vade, jAuM yAtrA aSTApade, unamade sAtha vihoho te karyo e. dharma kAje bahu aMtarAya, sAMbhaLa to moTA rAya, upAya dharma taNuM meM aNusaryo e. rAyarANI be pratibuddha, pAya lAge thaI zuddha, vizuddha manazuM ghera teDI gayAM e.

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vAcaka megharAjakRta naladavadaMtI carita H 175 anAdika munine diye, dharmavacana munithI liye, zuddha hIe zrAvaka zuddha bihuM thayAM e. naLanA janmadivasa vize nizcitapaNe koI kavie ullekha karyo nathI. paraMtu kavi megharAje lakhyuM che ke naLane janma bArasane divase thayo hato. alabatta, kayA mAsamAM ane kayA pakSamAM janma thayo hato te kavie batAvyuM nathI. janmasamayanuM varNana karatAM kavi lakhe cheH zubha marate suta janamiyo vAgyAM Dhola nisANa; ghara ghara ucchava hue ghaNA, diye yAcaka dANa. anopama naMdana avataya e, kIje raMga rasAla; deza amAra varatAviyo, chUTe baMdhi aneka, mahota vadhAre rAjiyo, kharace dravya aneka. bArasame dine Aviyo. miLI sAva parivAra. sAra zRMgAra pahirAviyAM, bhojana vividha prakAra. svayaMvara maMDapanuM ane sajaja thaIne temAM AvelI davadaMtInuM varNana megharAje potAnA purogAmI kavi RSivardhana ke mahArAja jeTaluM suMdara karyuM nathI. svayaMvara vakhate davadaMtInI uMmara A kavie dasa varSanI batAvI che. ane teTalI vaye ene lakSmInA avatAra jevI gaNAvI che temAM thoDI ayukti jaNAya che. anya koI kavie davadaMtInI eTalI nAnI uMmara batAvI nathI. kavi lakhe che: sakaLa kaLA guNa maNi bharI, vidyA vinaya vicAra; anukrame varSa dazanI thaI lAchi taNo avatAra tava rAjA mana ciMtave, e putrI muja sAra, rU5 anopama vaya caDI, kuNa kIje bharatAra ? svayaMvaramAM davadaMtI naLane varI ethI IrSyA karanAra ane yuddha mATe taiyAra thanAra karaNAja nAmanA rAjavIne naLe yuddhamAM harAvavo, davadaMtIne paraNIne naLanuM potAnA nagaramAM pAchA pharavuM, potAnI AjJA na mAnanAra kadaMba rAjAne naLe harAvavo, ane potAnA bhAI phUbara sAthe ghUtamAM potAnuM rAjya hArI davadaMtI sAthe vanamAM javA mATe naLanuM nIkaLavuM-ATalI ghaTanAonuM Alekhana rAsanA bIjA khaMDamAM kavie karyuM che. e khaMDane aMte kavi lakhe che : - ghara Avyo paraNI naLarAja, jUvaTe ramIne hAryuM rAja; muni megharAja taNI e vANI, eTale bIjo khaMDa vakhANi. kRSNarAja sAthenA yuddhano prasaMga varNavyA pachI, purogAmI kavi RSivardhane naladavadaMtInA vivAhano prasaMga eka AkhI DhAlamAM varNavyo che, tyAre megharAje eno ullekha mAtra be ja paMktimAM karI, e prasaMga patAvI dIdho che : naLavadaMtI paraNiyA, maMgaLa dhavaLa sugAna; sAjana savi saMtoSiyAM, dIdhAM bahulAM dAna. evI ja rIte, svayaMvaramAMthI pAchA pharatAM naLadavadaMtIne mArgamAM bhamarAthI vIMTaLAyelA, kAusagga dhyAnamAM rahelA muni maLe che e prasaMga paNa megharAje phakta be paMkitamAM ja varNavyo che : gajamadagaMdhe bhamare vIMdhyo, kAusagiM che muni eka; niSadha naresara savi parivAre, vAMde dharI viveka.

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17 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava evI ja rIte kadaMba rAjA sAthenA yuddhano prasaMga paNa kavie thoDI paMkitaomAM mAtra vigata nirdeza karIne ja rajU karyo che : kaTaka sajAI leI caDhyo, mAMDe jhUjha alaMba; naLa cha puNya karI, bhAgo rAya kadaMbo re kharuM vimAsI tiNa nRpa, lIdho saMyama bhAra tasu pAye lAge naLa tihAM, sahu kahe jayajayakAro re. naLa potAnA bhAI kUbara sAthe jugAra rame che te karmane vaza thaIne ema batAvatAM kavi kahe che: caMdana ko candrane, laMchaNa jalanidhi khAra; tima naLane juvaTAtaNo avaguNa eka apAra. doSa ma dejo jAtine, mAtapitA navi doSa doSa ja deje karmane, phoka ma kara zoSA mata jANe uttamata, ehathI vaMka na hoya. caMdanathI UThe agani, vana bALatI joya. samudrapitA bhAI candramA, bahinI lAchi sarIkha; zaMkha sarIkho phUTaDo, ghara ghara mAMge bhIkha. naLa jyAre jugAra rame che tyAre davadaMtI ene ema na karavA mATe samajAve che. e prasaMge kavie davadaMtI pAse mAtra jugAra ja nahi, sAte vyasana na sevavA vize naLane upadeza apAvyo che. e mATe kavie A bIjA khaMDanI AkhI eka DhALa lakhI che. naLa jugAramAM hAre che ane vanamAM jatI vakhate pAMcaso hAtha UMco staMbha ukheLIne upADe che, jethI ene khAtarI thAya che ke bhaviSyamAM pote pAcho rAjyano ghaNI thaze. mahAna puruSonA jIvanamAM AvatI AvI caDatI paDatI vize A prasaMge kavi kevI sadaSTAnta subhASitAtmaka paMktio prayoje che te juo : loka kahe che vANI ghaNI, naLa hospe kozaLano dhaNI, moTA mANasa Apada jaya, saMpada puNa moTAne hoya. caMdra vadhe ne caMdra ja ghaTe, tArA zuM vAdhe zuM ghaTe ? naLa hete loka sahu sukhI, paNa koIne nava kIdhA duHkhI. naLa thAje puhalIno dhaNI, vahelo Avo kozaLa bhaNI. IzAM loka vacana Ucare, sAMbhaLI naLa manamAMhe re, rAja kamAyuM te pramANa, sahu ye jehanAM kare vakhANa. jaLapUre nadI kare susuAli, jhADa upADe nahIM kahIM pADi; varSA gaI UDe tihAM dhULa, pApa karyuM rahyuM te mULa. veLA vahete DAhyo thAya, saghaLA dina sarakhA navi jAya. arahaTa-ghaTikA Ave pharI, eka gaLI bIjI jaLa bharI. rAsanA trIjA khaMDamAM bhIla loko naLano ratha laI jAya che, naLa davadaMtIno vana mAM tyAga kare che davadaMtIne e vakhate svama Ave che, jAgyA pachI naLane na jotAM te rudana kare che, vanamAM Amatema bhame che, mArgamAM ene eka rAkSasa maLe che, tyAra pachI davadaMtI guphAmAM jaIne rahe che ane varSAmAMthI tApasIne

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vAcaka megharAkRta naladavadaMtI carita H 177 bacAvI le che, siMhakesarIne kevaLajJAna thAya che, davadaMtI dhanadeva sArthavAhanA sAthe sAthe acalapura AvI pahoMce che ItyAdi prasaMgo kavie varNavyA che. khaMDanI aMtima paMkitaomAM kavi jaNAve che: naLa gayo paradeza vahI, bhImI acaLapure te gaI muni megharAja taNuM e vANI, eTale trIjo khaMDa vakhANi. kAbe arjunane lUMTyo hato tema vanamAM bhIlo naLano ratha upADI jAya che. e prasaMge upadeza ApatAM kavi lakhe che : Rddhi taNuM zuM gAravo, rakhe kare nara koya. Avata jAtAM vAra nahi, chAMha phiratI joya. kAja na Ave pAdharuM, mitrAI vihaDatI; java puNyAI pAtaLI, vayarI dAva paDaMta. vanamAM naLa davadaMtIno tyAga kare che, paraMtu davadaMtI pratyeno ene prema jarAye ocho thayo nathI. tyAga karatI vakhatanI naLanI manodazA juo : zIla satIne rAkhaze, ehane vighana na hoya; zIla sanAha taje nahu, gaMje tAsa na koya. ema vimAsI rudhirathI, lakhiyA akSara vIra; asimeM kApI oDhaNuM, leI adhilo naravIra. mana potAnuM mehaliyuM, davadaMtIne pAsa; naLa paradeze nIsaryo, mUkI bahu nisAsa. Agho jaI pAcho vaLe, chUpI rahyo taru pAsa; jANyuM jo jAge priyA, to huM jAuM nAsi. davadaMtInA vastra upara naLe je zabdo lakhyA te paNa naLanA davadaMtI pratyenA apratima premanI pratIti karAve che: vaDa heThaLa je vATaDI, te kuMDinapura jAya; DAvI vATe kozalA, jihAM tuja citta sahAya. tihAM tuM jAje kAminI, raheje mana ullAsa; mana mAharu sevaka samuM, mehaluM chuM tuma pAsa. vAhalA kime na vIsare, vasatAM uvase rAna; sAsa samAM nita sAMbhare, khaTake sAla samAna. tuM mata jANe neha gayo, dUra vasaMte vAsa; behu nayaNAM aMtara paDyuM, jIva tuM mAre pAsa. vanamAM ekalI paDelI davadaMtI potAnA duHkhabharyA divaso have kyAM ane kevI rIte pasAra karavA te vize gaMbhIra vicAra kare che ane aMte nizcaya kare che ke potAnuM jIvana zIla ane saMyamamAM pasAra karavuM ane e mATe potAne piyara javuM: citta cite davadaMtI satI, hiva thAze zI mAharI gati; ekalaDI e vanaha majhAra rahetAM pAmIje sahI hAra. su ca0 12

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178 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha ekalaDI vanamAM goraDI, sabaLa phaLI bIjI bIjeraDI; vADa nahIM ne nahi ko nAtha, vATe koNa na vAhe hAtha. navayauvana nahIM kahenI vADa, zILe to nahIM kuNa pADa. jima tima karI ApuM rAkhavuM, bIjuM sahu dUra nAkhavuM. zILe saghaLAM saMkaTa TaLe, zILe manavAMchita savi phaLe; zILe sura nara kare vakhANa, gaNavuM jIvuM tAsa pramANa. maNi mANika paNa sone toya, kanakataNa je Azraya joya; vallI nitA paMDita jANa, Asiphe karI zobhe niravANa nArIne ehaja baLa jeya, ke sAsaruM ke pIhara hoya; to pIhara jAuM duHkha kaTe, kozalA bhaNuM jAvuM navi ghaTe. sAsu sasarA devara jeTha, kaMta hoya to mAne neTa; pati viNa hoe bahu aMtaruM, e saghaLuM joyuM nAtaruM, hAla hukama toha ja strI kare, piuo je beTho hoya ghare; kaMta vinA kehavI kAminI, caMdA vinA jehavI yAminI. strI pahara ne nara sAsare, saMyamI vasavuM thira kare; je rahetAM AmaNa dUmaNuM, cheDe jAtAM aLakhAmaNa. to paNa pahare mAne kAra, nArIne pIhara AdhAra; kAMI avaguNa hoe neTa, tohe DhAMke te mA-peTa. tyAra pachI siMhakesarIne kevaLajJAna prApta thavAno prasaMga kavie varNavyo che. kUDakapaTathI bharelo kubarano putra siMhakesarI kevaLajJAna pAme che emAM pitAputra vacce keTaluM badhuM aMtara jaNAya che? paraMtu saMsAramAM karmanI gatine kAraNe Ama bane che. kabara ane siMhakesarI vizenI AvI vicAraNA A kavi sivAya bIjA koI kavie karelI jovA maLatI nathI. kavi lakhe che : kUbara to kUDe bhaya re, putra thayo RSirAja; pitAputra kaho cuM Thare re, sarajavuM karame kAja. ahI mastake kyuM maNi, sovana reta vikAra; paMka thakI paMkaja hoye, myuM jAte adhikAra. zreNika pahelI bhogave, koNika chaThThI hoya; abhaya meghakumAra RSi, anuttare sura hoya. davadaMtI RtuparNa rAjAne tyAM Ave che, dAnazALAmAM dAna Ape che, piMgaLa corane bacAvI, upadeza ApI saMyama levaDAve che, harimitra brahmaNa davadaMtInI bhALa kADhI ene kulinapura laI jAya che, davadaMtInAM mAtApitA ene AzvAsana Ape che, naLa agnimAM baLatA sApane bacAvavA jAya che tyAM sApa ene karaDe che; e naLanA pitA niSadha deva che ane te naLane divya vastrAvaraNa Ape che, naLa susamArapura Ave che ane tyAM gAMDA hAthIne vaza karI dadhiparNa rAjAnI kRpA meLave che-A badhA prasaMgo kavie cothA khaMDamAM AlekhyA che.

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vAcaka megharAjakRta naladdevadaMtI carita H 179 jaina paraMparAnI nala-kathA pramANe davadaMtI acaDhapuranI pAdare eka vAvane kAMThe beThI hatI evuM varNana che. paNa kavi megharAje davadaMtI sarovaranI pALe beThI hatI evuM varNana karyuM che. jaina paraMparAne nalakathA pramANe RtuparNa rAjAne tyAM davadaMtI pahoMcI tyAre dAnazALA cAlatI ja hatI. paraMtu kavi megharAje varNana karyA pramANe RtuparNa rAjA moTI dAnazALA cAlu karavAnuM davadaMtIne kahe che. A varNana pramANe paNa tyAM davadaMtIne koI oLakhI zakatuM nathI ane kavie paNa e ja pramANe batAvyuM che, chatAM RtuparNa rAjA davadaMtIne "bhImI ke "davadaMtI' evuM saMbodhana karIne vAta kare che evuM kavithI batAvAI gayuM che, jethI tyAM gaMbhIra kSati jaNAya che: anyadA te rAjA Rtuparsa, bolyo narapati ati suvarcana. putrI bhImI sAMbhaLa vAta, vacana eka boluM chuM sAca. lakhamI mAre ghare che ghaNI, Arati ciMtA sarva avaguNI. mAMDa moTI eka dAnazALA, dIje putrI dAna rasALAM. eha vacana sAMbhaLa davatI, dAna diyo ati mananI khaMti. nagara taNe bAhara eka karI, dAnazALA mAMDI dhana bharI. bIjA gauNa prasaMgone TUMkAvanAra A kavie piMgaLa corano prasaMga vistArathI Alekhyo che, ane susaMgati ane dusaMgati tathA sugati ane durgati vize sadaSTAne upadeza davadaMtI pAse piMgaLa corane apAvyo che. dusaMgati ane susaMgati vizenI kavinI sodAharaNa mArmika paMktio juo : kusaMgatinA suNa avadAra, uttamane koI pUche vAta, lIMba samIpe Ugyo aMba, phaLa kaDavAM thAye avilaMba. udadhi baMdhANe rAvaNa saMge, popaTa vaMThayo bhIla prasaMge; ghaTikA core pANuM jAta, rIje jhAlara dinarAta. mITho dAsI kheM meM kare, tima tima vAnara citte kare; kiMghahunA dIse para-loya, kahi kusaMgati bhalI na hoya. kahiye kusaMgati rUri nahi, gAye lakkaDa ghaMTA vahI; mAkaNa saMge ja niravaMza, kAga prasaMge marANe haMsa. ItyAdika dRSTAMta aneka, kusaMgati vAro dhari viveka; sAdhu saMgati kare niramaLI, jehathI pahuce mananI phaLI. susaMgati vize davadaMtI kahe che : meru upara ja UgyAM tRNa, upamA pAme kaMcana taNAM; malayAcaLanI saMgati joya, vRkSa ghaNAM caMdanamaya hoya.

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180 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava carthI uttama saMgati karavA jAya, nIca thako paNa te pUjAya; gaMgA kardama Adara vaDe, gopIcaMdana mastake caDe. cAra hatyA jeNe nara kIdha, strImastaka chedI kara lIdha; ehavA paNa puhatA sadagati, jANe sAdhu taNuM saMgati. kADhavAha munIsara time, cothuM vrata pALe pUname; tehathI manavaMchita tasa thAya, rAja taNuM pAmyo supasAya. uttama sarasI saMgati kare, paMDita goSThi hiyaDe dhare; niralobhIzuM matri yadA, te nara nahuM sIdAe kadA. davadaMtI potAnA pitAne tyAM jAya che, enAM duHkhanI vAta sAMbhaLIne mAtApitAne ghaNuM duHkha thAya che. paraMtu teo sItA, aMjanA, RSidarA vagerenAM dRSTAnta ApI davadaMtIne AzvAsana Ape che, ane A badhuM karmane kAraNe che ema samajAve che. - A khaMDanI cothI DhAlathI kavi davadaMtIno tyAga karIne gayelA naLanA prasaMgo varNave che. naLe agnimAMthI sApa bacAvyo e prasaMganuM varNana kavie RSivardhanane anusarIne karyuM hoya ema lAge che. susamArapura nagaramAM naLa gAMDA hAthIne vaza kare che te prasaMge kavi lakhe che : tatakSaNa gaja zikhyA karI, caDI jaI gajakuMbha; aMkuza zire prahArIne, leI bacyo gajathaMbha. naLa dadhiparNa rAjAne tyAM rahe che, rAjA enI pAse sUryapAka rasoI karAve che, davadaMtInI vinatithI bhIma rAjA naLanI bhALa kaDhAve che ane pachI banAvaTI svayaMvaranI yojanA kare che, dadhipaNuM rAjA huMDika (naLa) sAthe Dinapura Ave che ItyAdi ghaTanAonuM nirUpaNa kavie pAMcamAM khaMDamAM karyuM che. khaMDane aMte huMka Avyo kuMDana pare, dadhipana sAthe puhato ghare; muni megharAja eNI pari kahe, pacama khaMDa samApti lahe. dadhiparNa rAjAne tyAM naLa kUbaDA tarIke Ave che. te davadaMtI sAthe vanamAM nIkaLelA naLanuM avasAna thayuM che evI kalpita vAta dadhiparNane kahe che. nRpa rAja gamAyuM te naLa rAyeM, nIkaLyo tyajI AvAso re, davadaMtIne sAthe laI ekalaDo vanavAsI re. lIlA laharI pura pratApI, Indra samo naLa huo re, duHkha dIThuM tiNe eke vAre, teNe kAraNe vana mUo re. komaLa prANu TADha taDake, thoDe ghaNuM kamalAya re, jima hima paDate mAsa ziyALe, kamalinI karamAya re. kUbaDa vayaNe naLanA jANyA, maraNa taNo samAcAro re, duHkha dhare te dadhipaNu rAjA, karato hAhAkAra re. pretakAja kare savi naLanAM, mana vairAge rahiye re, premI athavA verI hojo, guNavaMtanA guNa grahiye re.

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vAcaka megharAjakRta naladavadaMtI carita H 181 davadaMtInA svayaMvaranA samAcAra sAMbhaLI dadhipaNu rAjA mUMjhAya che tyAre ene potAnuM duHkha jaNAvavA kUbaDo kahe che: kAM naravera tame Ima karo, kahuM che tuma duHkha; rAya kahe tujane kahyAM, zuM upajaye sukha. mana-duHkha, strI vyabhicAriNI, dhanavaMcyo, apamAna; vaMcANuM sahu AgaLa, je duHkha pheDaNahAra. je te AgaLa bhAkhatAM, laghutA lahe apAra. dadhiparNa rAjA hakika pAsethI vidyA le che te prasaMge kavi bodhanAM vacano kahe che? vinaya karI vidyA prahe ke dhana taNe pasAya, vidyArthI vidyA liye, cotho nathI upAya. nIca thakI vidyA bhaNI, letAM ma kare lAja; kardamathI maNi saMgrahI, DAhyo sAdhe kAja. bhaNa gAve nAcave, sAsaraghara, raNa kAja, AhAra vyavahAre navi huye, AThe ThAme lAja. davatIne svapna Ave che ane temAM pote eka AMbAnA vRkSa upara caDe che. A svapnanI vAta davadaMtI potAnA pitAne kahe che ane jaina paraMparAnI naLakathAmAM, ane ene anusarIne lakhAyelI kRtiomAM bhIma rAjA davadaMtIne mAtra eTaluM ja jaNAve che ke e svapna tenA udayanuM sUcaka che. paraMtu kavi medharAje svapna vize thoDo vadhu khulAso karyo che, je batAve che ke kavi paraMparAnI nalakathAne custapaNe vaLagI na rahetAM prasaMgopAtta potAnI kalpanA pramANe tenI vigatomAM sudhArAvadhArA kare che. A prasaMge kavi lakhe che : ge, vRkSa, kuMjara taru caDyo, gRha vara paravata zRMgaH dekhI jAge mAnavI, lahe lakhamI manaraMga. IzuM kAraNa putrI suNo, devI te puNya rAsa, rAja-lAbha ArAma te, pAmiza tuM ulAsa. chaThThA khaMDamAM kUbaDA DikanI kasoTI thavI ane e ja naLa che enI davadaMtIne pratIti thavI, naLe mULa svarUpa dhAraNa karavuM, bhIma rAjAne tyAM keTaloka samaya rahI naLe kUberane yuddhamAM harAvI enI pAsethI rAjya pAchuM meLavI levuM, niSadha devatAnA upadezathI naLe dharmaghoSasUri pAse dIkSA levI, saMyama na pALatAM anazanavrata laI dehano aMta ANavo, devalokamAM dhanada tarIke janmavuM, davadaMtInuM paNa dIkSA laI, anazana karI, mRtyu pAmI devalokamAM dhanadanI patnI tarIke janmavuM, tyAMthI davadaMtIe kanekavatI tarIke janmavuM, kanakAvatInA svayaMvaramAM dhanada ane vasudevanuM AvavuM ane kanakavatIe vasudevane svayaMvaramAM varavo ane aMte kanakavatIe kevaLajJAna prApta karavuM-ATalA prasaMgonuM kavie nirUpaNa karyuM che. khaMDane aMte kavi lakhe che : naLa pragaTayo bhAvaTha uddharI, pAmyo rAja pUrvabhava carI; muni megharAja taNuM e vANI, eTale chaTTo khavakhANuM. A khaMDamAM kavi vAcaka megharAje evuM varNana karyuM che ke naLa kUbAnI sAthe yuddha karIne potAnuM rAjya pAchuM meLavI lIdhuM. jaina paraMparAnI naLakathAmAM vAcaka megharAje karelo A pheraphAra phakta jaina paraMparAnI

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182 : zrI mahAvIra jaina vidyAlaya suvarNamahAbhava grantha kathAmAM ja nahi, mahAbhAratanI paraMparAnI kathAmAM paNa koI kavie karyo nathI. mahAbhAratanI ane jaina paraMparAnI naLakathAmAM naLa jyAre akSavidyA meLavI pAcho phare che tyAre te potAnA bhAI pAsethI potAnuM rAjya jugAra ramIne pAchuM jItI le che. Ama naLane potAnA bhAI sAthe khIjI vAra jugAra ramato batAvAyo che. paraMtu have enI pAse akSavidyA hovAthI e hAravAno nathI enI khAtarI che. eTale naLa dyUtanA vyasanathI hAryo hovA chatAM khIjI vAra e jugAra rame che emAM aucityabhaMga ke vicAradoSa rahelo hoya ema lAgatuM nathI. paraMtu vAcaka medharAje naLane khIjI vAra dyUta vaDe nahi, paNa yuddha vaDe jItato khatAvyo che. kUbara sAthenA naLanA yuddhano prasaMga kavie A pramANe varNAvyo che : caturaMga senA paravaryAM, naLa nRpa kare prayANu; jora dhaNuM senA taNuM, jima sAyara udhANo re. anukrame kozaLa AvIA re, phUbara sAMbhaLI vatta; atizaya irSyA upanI, rAjalobha saMyutta re. kUkhara sAhamo AvIo, kaTaka joI ne tAma; rAja taNo tarasyo dhaNo, mAMDe sabaLa saMgrAmo re. X X X yuddhanI bhayaMkaratAnuM vigatapUrNa citra kavie kevuM sarasa doryuM che te juo : bihuM daLe subhaTa savisAra re caDyA, sabaLa saMgrAma ratUra vAge; zabda zravaNe paDyo sAMbhaLe ko nahi, ghoSa nirdoSa brahmAMDa gAje. naLa rUpa zUra raMga roze bharyo, subhaTa zUmi caDyA bihu birAje; jema nara saMyamI karama sAthe bhiDe, tema naLa zUra saMgrAma chAje, ratha raja sabaLa aMdhAruM UThayuM ghaNuM, azva gaja pUra paDavA uchAyuM; ApaNuM pArakuM oLakhe ko nahiM, dinakara sahita zuM gagana choyuM, pAyaOM pAyaka, rathapatie sthapati, azvapati sUjha asavAra sAthe; gajapatiyeM gajapati rosabhara jhUjhatA, zastra khUTAM pache khAcokhAthe, prabaLa hathiyAra tana teja dekhI karI, kAtara keTalA dUra nAse; subhaTa zarA ghare hoya vadhAmaNAM, maMdI khole yaza nA ulhAse.

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vAcaka medharAjakRta nala-davadaMtI carita : 183 subhaTa sAcA bhaNyA keTalA raNa paDyA, koI kAtara vaLI kIha nATho; punya prasAda vaLI naLanRpa atiyo, kUMbara khAMdhiyo karIya kADho. ghoSa nirdhoSa vAjAM ghaNAM vAjate, naLanRpa kozalA mAMhi Ave; nagara zRMgArI gayaNu dhaja lahalahe, kAminI motiye karI vadhAve. naLane Ama yuddhathI jItato batAvavA pAchaLa kavino Azaya kadAca ene bIjI vAra dyUta ramato na batAvavAno hoI zake. alabata, jo AvA AzayathI kavie tema karyuM hoya to naLane akSavidyA maLe che tenuM kaMI prayojana ke aucitya rahetuM nathI, kAraNake eno upayoga bIjA koI prasaMge batAvAyo nathI. kavie vyasanathI mukta rahevA vize je upadeza Apyo che tene sahaja bhAvathI anusarIne A pheraphAra karyo hoya ema paNa banavA saMbhava che. naLanA khIjI vAranA jugAra ramavAmAM je sUkSma vicAra rahelo che te * jugAra ramavAthI rAjya gumAvyuM chatAM, ane jugAra e moTuM vyasana che chatAM, naLa zA mATe bIjI vAra jugAra ramavA gayo ?' Avo prazna karanAra sAmAnya janasamudAya mATe A sUkSma vicAra sahelAIthI samajavo ke gaLe utAravo adharo che. AvA janasamudAyane lakSamAM rAkhIne kavie A pheraphAra karyo hoya e paNa banavA saMbhava che. niSadha devatAnA kahevAthI naLa vairAgya dhAraNa kare che ane potAnA nagara pAsenA vanamAM AvelA sAdhu pAse dharmopadeza sAMbhaLe che. A sAdhunuM nAma judA judA kavioe juduM juduM ApyuM che. mULa paraMparAnI kathAmAM emanuM nAma 'jinasenasUri' che. somaprabhAcArye 'kumArapALa pratibodha' mAM emanuM nAma 'jinabhadrasUri' ApyuM che. kavi samayasuMdare potAnA ' nala-va MtI rAsa 'mAM * jitasenasUri ' ApyuM che. vAcaka medharAje emanuM nAma 'dharmadhoSasUri' ApyuM che. dharmadhoSasUri naLane samajAve che ke ene mAthe je duHkha paDyAM che tenuM kAraNa pUrvabhavanAM karmo che. dIkSA lIdhA pachI naLanuM mana pharI viSayavAsanA tarapha jAya che te samaye enA pitA niSadha devatA AvIne ene samajAve che. e pachI paNa naLa saMyama pALI zakato nathI ane ethI anazana dvArA potAnA dehano aMta ANe che. niSadha devatA naLane samajAvavA Ave che e prasaMgano ullekha RSivardhane nathI karyo ane ene anusarIne medharAje paNa nathI karyo. medharAja lakhe che : anyadA naLa RSine mana thayuM, viSayarAga manasuM maLyuM; tava tiNe munivara dharI viveka, aNusaNa pALI nirmaLa eka. aNusaNa pALI niraticAra, pAmyo sohamaiM sura avatAra. dhanada nAme bhaMDArI thAya, lokapAla uttara dizi rAya. kavi medharAjano A rAsa purogAmI kavi RSivardhananA rAsanI sAthe kharAkhara vigate sarakhAvI jotAM lAge che ke RSivardhananA rAsanI asara medharAjanA A rAsa para dhaNI paDelI che. vastutaH A rAsa lakhatI vakhate medharAje RSivardhanano rAsa potAnI najara samakSa rAkhyo hoya evI spaSTa pratIti sthaLe sthaLe thAya che. e rIte RSivardhana pratyenuM medharAjanuM RNu ghaNuM che ema niHsaMkoca kahI zakAze,

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184: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha RSivardhananI jema megharAje paNa zrI zAMtinAtha prabhunI stuti sAthe rAsanI zarUAta karI che. ghUta ramavAnI naLanI Teva mATe RSivardhana lakhe che: * caMdana kaQo caMdri kalaMka, rayaNAyara khArU, jali paMka; guNamaya nalanaI jUo rUhAri, ratani doSa divi kuNu pADi. megharAja lakhe cheH caMdana kaDU, caMdrane laMchana, jalanidhi khAra; tima naLane juvaTe taNo avaguNa eka apAra. naLanA pAtranuM varNana karatAM RSivardhana lakhe che: dina dina vAdhaI nalakumAra, zuddhaha pakhi caMdo; rUpa sobhAgi Agalu eka jaNa nayanAnaMdo. kalA bahuttari bhaNaI guNaI sevigraMtha vakhANuI megharAja lakhe che : zula pakhe jima caMdalo vadhe tema kumAra; kaLA bahunnara zIkhiyo, jANe graMtha vicAra. naLa davadaMtIno tyAga karyA pachI, AgaLa jatAM agnimAM baLatA sApane bacAve che. e prasaMga paNa megharAje barAbara RSivardhanane anusarIne Alekhyo che. davadaMtIne choDIne gayA pachI AThame divase A banAva bane che ema RSivardhane lakhyuM che. jene paraMparAnI mULa kathAmAM A banAva keTale vakhate banyo teno spaSTa nirdeza nathI, paraMtu e prasaMge naLa potAnA pitAne 'davadaMtInuM zuM thayuM?" ema tyAre "davadaMtI atyAre enA pitAne ghare pahoMcI gaI che' ema avadhijJAnI niSadha devatA kahe che. have AgaLanA vRttAMta pramANe naLa-davadaMtI vanamAM javA nIkaLyAM ane naLe davadaMtIno tyAga karyo e pachI davadaMtI sAta varSa ekalI parvata para guphAmAM rahI. e pachI e potAnI mAsIne tyAM gaI. mAsIne tyAM e keTalo vakhata rahI eno spaSTa nirdeza kyAMya thayo nathI eTale eno cokkasa aMdAja kADhI zakAya nahi. paraMtu davadaMtI potAnA pitAne tyAM pahoMcI gaI evA samAcAra niSadha devatA naLane ApatA hoya to eno artha e thayo ke davadaMtInA tyAga pachI, sAta varSa karatAM ye vadhAre samaya pasAra thayA pachI, A prasaMga banyo hovo joIe. ene badale RSivane A prasaMga davadaMtIne tyAga pachI AThame divase banato varNavyo che. nali java bhImI pariharI, cAliu mani jhUrata, tava dava dekhAI AThamaI dini vani pasarata. ane AthI "davadaMtI potAnA pitAne tyAM pahoMcI gaI che" evuM vacana RSivardhane niSadha devatA pAse kahevaDAvyuM nathI. juoH nali pUchiuM davadaMtInuM kahuM deva caritta; * sIla prazaMsA tasa taNI, karatu supavitta. Ama, RSivardhane karelA A pheraphArane anusarIne megharAje paNa AThamA divase A ghaTanA banatI batAvI che: * RSivardhananA rAsanI paMktio hastaprato tathA DaoN. benDaranA saMpAdananA AdhAre TAMkI che.

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vAcaka megharAjakRta naladavadaMtI carita H 185 vATe jAtAM re tava dina AThame, dava dITho vanamAMhi; sAda kare che ko eka tihAM rahyo, rAkho pasArI bAMhi. ane AvI ja rIte, naLanA praznanA javAbamAM niSadha devatA kahe che? naLa rAye rAkhyo teha karaMDIo, pUchI bhImI vAta; zILa prazaMsA sura suvizeSa, saghaLI kare re vikhyAta. A ja prasaMganA nirUpaNamAM RSivardhane batAvyuM che ke sApa naLanA DAbA hAthe karaDyo. jaina paraMparAnI kathAmAM varNavyA pramANe sApa naLane hAthe karaDe che, paNa te kayA hAthe teno nirdeza karavAmAM Avyo nathI. paraMtu RSivardhane potAnA rAsamAM DAbA hAthano spaSTa nirdeza karyo che : ahi valagADI oDhaNuI, jaI usirI hAMmi; mUkatA nalarAjA tirsi, DasIuM kari vAMmi. RSivardhanane anusarI vAcaka megharAje paNa ema ja lakhyuM che : ehavuM citavi oDhaNa nAkhIo, vaLagyo ahi taNe bAtha; Agho jaIne naLa mUke jise, DasIo DAve hAtha. kavi rAmacandrasUrinA "nalavilAsa nATaka"ne anusarIne RSivardhane potAnA rAsamAM je pheraphAra karyo che te vAcaka medharAje paNa cAlu rAkhyo che. naLa dadhiparNa rAjAne tyAM kadarUpA harika tarIke rahe che tyAre bhImarAjA taraphathI mokalavAmAM Avelo dUta "kuzalo' prathama naLanI mAhitI meLavI lAve che ane pachI dadhiparNa rAjAne tyAM jaI nala-davadaMtInuM nATaka bhajavI batAvI haDika e naLa che enI vizeSa khAtarI lAve che. -A pramANe eka navo prasaMga, je rAmacandrasUrie potAnA nATakamAM prayojyo che te RSivardhane potAnA rAsamAM lIdho che ane tene anusarIne vAcaka medharAje paNa te prasaMga lIdho che. jaina paraMparAnI nalakathAmAM Avo koI prasaMga nathI. e prasaMganuM megharAje kareluM varNana juo. tava dadhiparNa nRpa pUchIne, naLa nATaka manaraMge re; mAMDe kuzalo Adara karI, leI sayala upAMga re. (dUhA) jima naLa gharathI nIsaryo, Avyo naha majhAra; ekalaDo nAzI gayo, mUkI satI nirAdhAra. jima jima vItaka vAMdIe, tima khaMhace saMketa; tima tima pUre mana ghaNuM, huMDika duHkha sameta. vaLI kuzalo bole tihAM, re niSkara nirlajaja; ekalaDI priyA tajI, te zuM kIdho kajaja. jagameM pApI che ghaNAM, drohI paNa lakha hoya; re nirguNa naLa tuM samo, avara na dITho koya. sUtI vizvAse satI, priya upara bahu rAga; te mUkIne jAyatAM, kima jUThI tuha pAga. svAmIdrohI ne gurudrohI, mitradrohI ati dhI; vaLI vizvAse ghAtakI tehanuM maha ma dITha.

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186 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava prastha eNe vacane te gaNivaryo, bhariyo duHkha apAra; nisAsA bahu nAkhata, gADho raDe sUAra. rUpa karyuM bhamI taNuM, te leI gaLapAsa; taba kUbaDa nehe bharyo UThI vAre tAsa. he devI tuM kA mare, huM chuM tAhare pAsa; nehaviludhI nArIne, hiva nahi jAuM nAsI. Ima ApaNapu pragaTiyuM, neha gahelo soya; premasurAmada dhAriyo, prANI paravaza hoya. megharAjanI A paMktio sAthe RSivardhananI nIcenI keTalIka paMktio sarakhAvo : nala talaInara avara na koI, ThaMDI satI priyA jiNi joI sUtI satI ekalI roni, mugadhi vIsasI sovina vAni. abalA mUkI thatAM pAga, kima gUThA tuja nala nibhAga; tiNi vicani gahibariu apAra, mUkI kaMTha raDaI sUAra; dekhI davadaMtI gela pAsa, UThI kApaIvAra tAsa. me mari devI huM chau tujha pAsi, Aviu hiva jAu nahi nAsi; Ima pragaTiu tava neNaI Apa, java nahi mani mAMDiG vyApa. . A prasaMganI bIjI keTalIka paMktio sarakhAvoH RSivardhana : madirA pAMhi droha kara, nikharU moha apAra; jiNi dhAriu jANaI nahi, jIva viveka vicAra. megharAja : madirA pAMhe droha kara, neha nikharo apAra; jeNe vAryo jANe nahi, jIva viveka vicAra, RSivardhana : dU nalanA gharanuM sUyAra, tiNi majha mani chaI neha apAra; sAmi bhagata te sevaka sahI, Ima jaMpAI huMDika gahigahi. megharAja H huM naLanA gharano sUAra, teNe upaje muje duHkha apAra; sAmibhagata je sevaka hoya, sAmI duHkha dekhIne roya. RSivardhana : kuzala kuzalaI pAchau valiu, AvI bhIma rAjAnaI miliuM bau bolAI suNi bhUpAla, te chaI kubaja rUpa vikarAla. medharAja: tava hiva kuzalo pAcho vaLyo, jaI kuMDinapura bhImaratha maLyo; kuzalo kahe suNa bhUpALa, kUbaDo rUpe ati vikarALa,

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vAcaka megharAjakRta naladavadaMtI caritaH 187 RSivardhana : kUbaDa kAjala sAmala deha, ati karUpa kiMhi haDika ehe; huMDika upari nalanI bhaMti, phakaI dUI chaI mani davadaMtI. medharAja : kihAM huMDika e kUbaDo, kAjaLa varaNa kurUpI re, huMDika upare bhImInI naLanI phokaTa brAMti re. jaina paraMparAnI nalakathA pramANe, davadaMtIne pUchIne bhImarAjA enA bIjA banAvaTI svayaMvarano vicAra kare che. paraMtu RSivardhane evuM Alekhana karyuM che ke davadaMtInA bIjA svayaMvarano vicAra potAno maMtrI bhImarAjAne kahe che. maMtrI taraphathI AvuM sUcana thAya che e kalpanA RSivardhananI potAnI che. RSivardhana lakhe che : AhAM aNAvuM jima kima teya, tuM maMtrI rAnaI di bheya; bhImI sayaMvara phUDaI anna, kahI hakArU ra dadhipunna. rA sAthi teha Avisi, svayaMvara nAmi jaInala siI nAri resa pasuI navi sahaI nava jIvatu tihAM kima rahaI. RSivardhanane anusarIne vAcaka megharAje potAnA rAsamAM A pramANe Alekhana karyuM che ? mi tima karI aNAvo Ihi, jANuM chuM naLa che tihAM; nava rAjA pUchyuM paradhAna, maMtrI matisAgara je nAma. tava maMtrI bolyo nRpa suNa, svayaMvara mAMDa bhamI taNo, phUDo e mAMDo parapaMca, teDo dadhipana sabaLa saMca. dadhipanna sAthe naLa Avaze, je naLa tihAM jIvato haze, svayaMvara nAme te kema rahe, nija nArI jAtI kIma sahe? nArI rosa pazu navi khame, rose bhariyA Atama dame, eka vastunA arathI doya, vayara suNe e kAraNa hoya. ahIM megharAje bhIma rAjAnA maMtrInuM "matisAgara"evuM nAma potAnI kalpanAthI ApyuM che. jaina paraMparAnI nalakathA pramANe, dadhiparNa rAjA ane kUbaDo jyAre bhIma rAjAne tyAM Ave che tyAre kUbaDAne sUryapAka rasoI banAvavAnuM kahevAmAM Ave che ane kaMI paNa AnAkAnI vagara te banAve che. RSivardhane evuM Alekhana karyuM che ke kUbaDAne jyAre sUryapAka rasoI banAvavAnuM kahevAmAM Ave che tyAre te bhIma rAjAne ema kahe che ke "tame pahelAM svayaMvara karo, pachI huM rasoI karIza." juo : e huMDika aha ghari sUAra, tiNi ANiyA ahe turita apAra; bhIma kahaI huMka naI bhANa, pAka rasoI karu sujANa. te bolaI ahe AviyA relI, bhImI sayaMvara jovA valI, pahilU sayaMvara ucchava karu, pachaI rasavatI Adara dharu. RSivardhanane anusarIne vAcaka megharAje paNa potAnA rAsamAM e pramANe nirUpaNa karyuM che ?

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18: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha dadhipana kahe ama ghara che sUAra, sakaLa kaLA guNa rayaNa bhaMDAra, tiNe ApyA ame rAya turaMta, bhamI bhaNe dadhipa suNa saMta. sUrajapAka rasoI karAvo, vaMchita kAja se tuma pAvo. kahe huMDaka dohilA ame AvyA, bhImI svayaMvara jevA AvyA. pahelo svayaMvara utsava kIje, rasavati svAda pache nRpa lIje. e ja prasaMganA AlekhanamAM te pachI RSivardhane potAnI kalpanAthI huMzika pAse bhIma rAjAne ema kahevaDAvyuM che, "naLa thavAmAM mAruM zuM jAya che? je tamane ema lAgatuM hoya to lyo, A huM naLa thayo. lAvo mane davadaMtI Apo." AvA zabdo jena paraMparAnI nalakathAmAM nathI. RSivardhane huMDikanA mukhamAM e zabdo mUkyA che. juo : majhana na thAvA taNI, rAhaDi jau tamaha citti, tu 6 nalarA A u, majhanaI diu davadaMti. RSivardhanane anusarIne vAcaka megharAje (ane mahArAje paNa) naLanA mukhamAM evA zabdo mUkyA che : naLa thAtAM mAharuM zuM jAya, je tumAro mana ema sahAya, to huM naLa thayo chuM Aja, vo bhInI sAro nRpa kAja. A prasaMganA AlekhanamAM RSivardhananI ane megharAjanI bIjI thoDIka paMktio sarakhAvo : RSivardhana : yauvana bhari prIu taNu viyoga, dusaha saMnipAta saMyoga, tiNi vivala davadaMtI huI, tAsa vacani ta mati kAM gaI vidyA kalA taNAM ahinANa, te paNa saghalA apramANa, eka ekamAM adhikAM ardhI kalA jANu bhagi guNavaMta pachaI. medharAja : yauvana bhara priyataNe viyoga, virahAnaLa paDe mahAroga, bhImI bhada vihvaLa mati mAThI, tasu vacane tuma mati kAM nahI ? kalA sulakSaNa vidyA mAharI, sUrajapAka rasoI sArI, dekhI kAM mana bhUlA terA, jagameM kaLAvaMta bahuterA. RSivardhana : IhiM vani sahU DhIlauM dUu, UThI jAvA laga jUjUchyuM, bhIma sutA tava mUkI lajaja, jaMpaI tAta niruNi nirava jaja. megharAja H INe vacane sahu UThI jAya, bhamInuM mana vyAkuLa thAya, bhImaratha nRpa AgaLa dila khole, lAja mUkIne bhImI bole. huMDika naLa tarIke pragaTa thato nathI e vakhate davadaMtI ene ekAMtamAM upAlaMbha Ape che. e prasaMge RSivardhane davadaMtInA mukhamAM mUkelI keTalIka paMktio sAthe sarakhAvatAM jarUra lAgaze ke megharAjanuM potAnA purogAmI kavi RSivardhana pratyenuM RNa ghaNuM moTuM che. RSivardhana lakhe cheH

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vAcaka megharAjakRta naladavadaMtI carita H 189 bhImAdika bAhira mokalI, kari jhAlI huMDika akelI, sA bAlA bolaI suNi vAta, kahyuM ketalA tujha avadAta. X kIDI upari rasI kaTakaI kIhAM dayA taha kerI gaI bhayA karU majha upari ghaNI, pagi lAgU kiMkari taha taNI. megharAja: mokaliyAM bAhera bhAya tAya, huMka kara tava bhIma sAhya; vaLavaLatI bhImI Ima bhAkhe, prANanAtha che Ima kAM dAkhe. kIDI upara kaTakI kahevI ? abaLA upara mahera karavI; huM kiMkara chuM rAjana terI, piuDA ciMta karo aba merI. rAsanA chellA, kanakavatI ane vasudevanA prasaMganuM nirUpaNa paNa megharAje RSivardhananA rAsane anusarIne karyuM hoya evuM spaSTa lAge che. sarakhAvo baMnenI thoDIka paMktio: RSivardhana : devI vI huI peDhAla, purapati haricaMda bhUmipAlaha, beTI kanakAvatI Eari; rAI tasa saMvara maMDAvile, ghanada lokapati paNi tihAM Avije, parivariu amarI amari. tihiM paraNI vasudeva manohari, yAdavi bhogaviluM sukha surAri, bAravaI nagarI jaIe. megharAja: te devI tihAMthI cavI, pura peDhAla nivAsa; haricaMda rAjA rAjIo, pUre prajAnI Aza. te nRpa ghara beTI huI kanakAvatI tasa nAma; anyadA tiNa rAye racyo, svayaMvara ati abhirAma. dhanada lokapati AvIo, dharato prIti apAra; kanakavatIne paraNiyo, yadu vasudeva kumAra, bAravatI nagarI jaI vilase sukha azeSa. Ama, AraMbhathI te aMta sudhI, eka naLa ane phUbaranA aMtima yuddhanA prasaMga sivAya, dareka prasaMganuM Alekhana kavi megharAje, kavi RSivardhanane anusarIne ja karyuM che. medharAje kaSivardhananA rAsamAMthI keTalIka paMktio athavA paMkitakhaMDo sIdhesIdhAM laI lIdhAM che, keTalIka paMkitao thoDAka zAbdika pheraphAra sAthe lIdhI che, ane keTalIka vAra megharAje ghaNuMkharuM potAnA ja zabdomAM, paNa RSivardhananI paMkitao lakSamAM rAkhIne ja potAnI paMktio lakhI hoya ema jaNAya che. jyAM jyAM gaDaSivardhanane kaMIka navuM umeryuM ke kaMIka choDI dIdhuM che tyAM tyAM ene anusarIne vAcaka medharAje paNa tema karyuM che. Ama, rAsanA AraMbhathI te aMta sudhI megharAje A pramANe karyuM che, to pachI eka yuddhano prasaMga kavie potAnI kalpanA vaDe kema umeyoM haze evo prazna ApaNane thaze. enI carcA AgaLa ApaNe karI che. paraMtu .

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190 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava 2 RSivardhananI paMktio sAthe sarakhAvatAM eka tarka karI zakAya ema che. A prasaMganuM nirUpaNa karatAM RSivardhanane lakhyuM che: tihAM mAsa eka rahI sayala rAya, senA si kIsarli nayariM jAI nala Aviu rajaja siri nimitta, phUbara bhayi kaMpI phUDa citta. jaI jIvI lIdhuM sayala raja, kUlaranaI dIdhuM yauvaraja. ahIM varNavyA pramANe naLa senA sAthe kozalA nagarI jAya che ane tyAM jaI'(dhUta)mAM rAjya jItI lIdhuM ema kavie varNavyuM che. ahIM "jaIne badale "sUjha" athavA "jhujhI" zabda mUkavAthI naLa senA sAthe Avyo ane yuddhamAM eNe rAjaya jItI lIdhuM' evo artha thAya. to pachI "jaIne badale "jhajhi" samajavAne lIdhe te megharAje yuddhanuM varNana nahi karyuM hoya, evo tarka karavAnuM mana thAya che. alabatta, A to mAtra eka tarka ja che ane tema karavAnuM kAraNa megharAje potAnA rAsanA kathAvastu mATe RSivardhananA rAsa para saMpUrNa AdhAra rAkhyo che ane A prasaMganA AlekhanamAM RSivardhanane, bIjA kavionI jema hRtinuM vigate varNana na karatAM, teno mAtra thoDA zabdamAM nirdeza karyo che e che. vaLI, AgaLanI paMktimAM emaNe "senA'no ullekha karyo che. eTale cAvI rU5 "jaI" zabdanA arthamAM samajaphera thatAM Akho prasaMga badalAI jAya che. AvI samajaphera je kadAca thaI hoya to tema thavAmAM koI hastaprata paNa bhAga bhajavyo hoya ema paNa banI zake. alabatta, A to mAtra eka tarka ja che. saMbhava che ke megharAje AvI koI samajapherathI nahi paNa potAnI kalpanAthI A prasaMganuM Alekhana karyuM hoya. traSivardhananA rAsa para kathAvastu mATe AdhAra rAkhyo hovA chatAM sthaLe sthaLe megharAje vicAra, varNana, alaMkAra, bodha, ItyAdimAM potAnI kalpanA sArI rIte calAvI che ane emAM ApaNane sthaLe sthaLe kavinI maulika sarjanazakitanuM darzana thAya che. eTale RSivardhanane anusaravAne lIdhe kavi megharAjamAM sarjanazakita ke kalpanAzakti ja nathI ema nahi kahI zakAya. A rAsamAM varSARtunuM varNana, davadaMtInuM svarUpavarNana, vanamAM davadaMtIne mAthe paDelA duHkhanuM varNana, bhImarAjanA dUta kuzalAe bhajavelA nATakanuM varNana, phUbara ane naLanA yuddhanuM varNana ItyAdi varNanomAM kavinI maulika nirUpaNazaktine ApaNane sAro paricaya maLI rahe che. A rAsamAM rahelI kavinI evI ja bIjI eka maulika zakti te vicAradarzananI che. jaina rAsAo sAmAnya rIte dUhA, copAI ane judI judI dezIonI DhAlomAM lakhAyA che. A rAsa paNa e rIte ja lakhAyo che. emAM A rAsanI eka noMdhapAtra viziSTatA e che ke ghaNakharA rAsa kavio jayAre dUhAnI paMktiomAM mAtra kathAprasaMga varNave che tyAre megharAja ghaNuMkharuM emAM sadaSTAnta subhASita ke muktaka jevI racanAo Ape che. A dUhAo kathAmAM barAbara baMdhabesatA mukAyA che, paraMtu te judA tAravI rIte vAMcI zakAya evA paNa che. ane AvA keTalAka bodhadAyaka dUhAo subhASita tarIke paNa upayogamAM laI zakAya evA che. kavinI bhASA saraLa che ane vyavahAra jJAna ane upadeza ApavAnI emAM rahelI kavinI vRtti joI zakAya ema che. ekaMdare dareka khaMDamAM TAchavAyA lakhAyelA AvA subhASitAtmaka dUhAo tathA copAI ane DhAlomAM lakhAyelI evI upadezAtmaka paMktio khUba rocaka ane rAsa mATe upakAraka banyAM che. keTalAka dUhAomAM, alabatta, kathAprasaMgo paNa varNavAyA che. paraMtu A rAsa vAMcatAM ekaMdare evI chApa paDe che ke AvI upadezAtmaka paMktio dvArA potAnA vicAro darzAvavAnI kavie eka paNa taka jatI karI nathI. joke ema karavAmAM keTalIkavAra pramANabhAna barAbara jaLavAyuM nathI. koIka

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vAcaka megharAjakRta naladavadaMtI carita H 191 sthaLe prasaMga mAtra be ja paMktimAM varNavAyo hoya che ane ene anulakSIne lakhAyelI AvI upadezAtmaka kaDIo AThadasa karatAMye vadhAre hoya che. AthI ja lagabhaga sADA chaso kaDInA A rAsamAM AvI kaDIonI saMkhyA savAbaso karatA vadhAre che. AvI kaDIomAM kavinI zilI ane dRSTi kevI che te udAharaNa tarIke nIcenI thoDIka kaDIo jovAthI jaNAze : niSadharAjA naLane sArI rIte ucherI kalAvidyAmAM nipuNa kare che e prasaMge kavi bALakane ucheravA vize lakhe che : bALapaNAthI lAliyo, zIkhaviyo nahu jAta; rAgI te mata jANaje, varI gaNa tAta. haMsamAMhi jima bApaDuM, baga pAme apamAna. tima paMDita mAMhi milyAM, mUrakha na lahe mAna. e deze bahu mAniye, paradeze pUjAya. paMDita jihAM jihAM saMcare, tihAM rAne velAula thAya. lAle pAMca varasa lage, toDe ja daza mAMna, soLa varSano suta thayo, tava te mitra samAna. bALapaNe na kaLA bhaNuM, na karyo dhana upAya; pAche cAre keraDAM, kaI pere dhove pAya. kavi medharAjanI A paMktio kavi mahIrAjanI AvI paMkitaonI ApaNane yAda apAve che : * pAMca varasa lagaI lAlII, bhaNavAI pachaI ha; dasa varasa lagaI Adara karu, nIpajaI suta bhalu teha soLa varasa hauA pachI, mitra taNI pari jANi; rIsa na karavI tehanaI, ehavI chaI zAstravANi. patinaI sahU ko mAnaI pAmaI atihi mahattva mi kAmi zobhA haI moTauM jJAna tattva. jJAnavaMtanI sabhAmAMhi, mUSa AvI baIroI rAjahaMsamAM baga jima, sahU ko tehanaI hase davadaMtInA svayaMvaranuM nirUpaNa karatAM, dIkarIne kevo vara paraNAvavo joIe ane e mATe moTAMonI kevI salAha levI joIe te vize samajAvatAM kavi megharAja kahe che : je paNa manamAM Upaje, bhali bhalerI buddhi; to paNa DAha pUchiye, jima hoya kAraja siddhi. lahuDa vaDAM pUche nahi, na gaNe sayaNa saneha, ApaNa chaMde cAlatAM, kharo vigUye teha. mUrakha, niradhana, vegaLo, zaro atihi sarasa, kanyA varasa triguNa hoye, te vara gaNe sadoSa. * juo mahIrAjata "naladavadaMtI rAsa pR0 14; kaDI 129-132

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192 zrI mahAvIra jaina vidyAlaya suvaNamahotsava carthI ghaNu anukULa zIlaspe, vidyA vaya dhana deha, guNa sAte jaI karI, vara lIje nisaMdeha. evo vara joI karI, mAtA pitA diye dhUya, pAche dhoraNa karmanuM, Ima jaMpe jaga saya. je sukhaNuM thaI beTaDI, to kahe karma pramANa, UNI to mAvitrane, gALa diye nirvANa. svayaMvaramAM AvelA rAjA kRSNarAjanuM abhimAna naLa utAre che e prasaMge kavi lakhe che : para saMpatti jiko sahe, paraguNa bole mITha, viNa svArathe upagArIA, te meM viralA dITha. thoDe paNa nija mahAne. manamAM vahe gumAna. TIToDInA pAu jima, phokaTiyuM abhimAna. baLa avicArI ApaNuM, mAMDe adhika parANa, moTA sAthe mAMDatA, nizce mUke prANa. rAjA durjana darasaNa, dhArALu marma jANa, vaidya, dhanI, ahi yAcako, mata kopavasyo jANuM. nibaLa thi maDe kika, ati moTAchuM ALa, gardabha siMha ziyALa jima, pAme maraNa akALa. nivadha rAjA potAnI gAdI naLane soMpI saMyama levAnI IcchA kare te prasaMge teo je vicAre che te vize kavi lakhe che : chate saMyoge dharmane, ALasa kare gamAra, kANI koDI kAraNe, hAre sahasa dinAra. vyAdhi na paDe tyAM lage, jarA na Ave aMga, IndrIzakti phuraMtaDAM, karavo dharma suyaMga. lAlacI lobha ne lIlarI, lAla vizeSe thAya, garaDhapaNe ApaDe, lakSaNa dUra 5lAya. vacana na mAne chokarAM nArI na dhare prema, khUNe nAkhI mehaliye, je nahi gAMThe hema. tapa, saMyama, dAne karI, vidyA vinaya vicAra, pragaTo na thayo jeha te, zuM Avyo saMsAra ? kadaMba rAjA naLanI AjJA mAnato nathI te prasaMge kavi lakhe che : teja hoya to sahu name, ehavo jagata subhAva, pAvaka upara kara dhare, bhasamI upara pAya. teje karI sahue bihe, nAme na biha koya, siMha sarSa bhIMte lakhyA, hAtha vAhIne joya.

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vAcaka megharAjakRta naladavadaMtI carita H 17 naLano bhAI kUbara naLane dhRtamAM harAve che ane davadaMtIne paNa jItI le che e vakhate jyAre te davadaMtIne potAnA aMtaHpuramAM rahevA kahe che tyAre maMtrIo ene samajAve che : chAMDe potAnI priyA, nIca rase paradAra, sarovara mUkI sira thako, boTe kAga gamAra. niravAhaka che ApaNo, para nahIM Ave kALa, kAjaLa UThI jAyacce, locana raheze tama. rAna, sarovara, rAjaghara, paradArAno saMga, vasiMbha vege parihare, rahI na kIje raMga. ghata ramatAM rAjaya dharyA pachI naLa-davadaMtI vanamAM gayAM che. e vakhate davadaMtI potAnA pitA bhIma rAjAne tyAM jaIne rahevA mATe naLane kahe che. paraMtu naLanuM mana mAnatuM nathI. davadaMtI sUtI che te vakhate naLa vicAra kare che : jeha jamAI sAsare, mAMDe cira vizrAma, nAma gamADe bApanuM, tima potAnI mAma. je thoDo tihAM vAhalo, prAhuNo raMgarela, ghaNuM rahetAM prIsiye, ghIne ThAme tela, nija thAnaka nara pUjIe, paraghara nahu posAya. sUrajane ghara AvIo, zihara jhAMkho thAya. vanamAM agnimAMthI bacAvelo sApa karaDavAthI naLano deha kadarUpa banI jAya che. e vakhate naLa e sApane darzana dhArIne bole che: veza, kunArI, coraTo, rAjA nIra adhAha, jegI pAvaka pALIo, durjana cheha de dAha. durjanano vizvAsa, karatAM hoye hANa, vAyasa je ghara rAkhiyo ghuaDa balyA niravANa. durjana jatane pALiyo, e tuM ma kare ghAMkha, haMse rAkhyo bUDatAM uMdare karaDI pAMkha. mitra ane kumitrane rakhe kare vizvAsa, bALe behu koyA thakI, jima dava bALe ghAsa. durjana te durjana sahI, sIMcI je amiNa, aMba na hoye liMbaDo, jAti taNe guNeNa. naLa kUbaDo banI dadhiparNa rAjAne tyAM Ave che e vakhate te potAno paricaya naLanA sevaka tarIke Ape che. e prasaMge kavi lakhe che : sevaka kAme jANavo, baMdhava kaTe jANa, bhAryA paNa niradhanapaNe, parakhIje nirvANa. sAhelAmAM sahuye maLe, dohile na maLe koya, vRkSa phaLyAM dekhI karI, paMkha AvyAM joya. sura 20 13

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194: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha kugAma vAsa, kubhArajA, sAmi nahi suviveka, paravaza roge pIDiyo, bharaNathakI atireka. vairIne mAne prabhu, je jANe guNavaMta, potAnuM paNa parihare, niraguNa jANe saMta. bhUlo paNa prabhu seviye, bhalI sabhA je hoya, bhalo paNa bhUMDI sabhA, to choDe nara je. huMDika kadarUpo che chatAM tenAmAM je guNa rahyA che te joI dadhiparNa rAjA vicAre cheH rUpa, kurUpa kazuM kare, mAnI je guNa joya, Aila kerAM phUlaDAM, zire na cAThe koya. ADaMbare nahuM pUjiye, guNe karI pUjAya, dUdhe vinA alaMkarI, navi vecAya gAya. kasturI kALI hoye, zire vahe nararAya, rUpa kurUpe zuM hue, guNa saghaLe pUjAya. bAra varSanA viyoga pachI bhIma rAjAne tyAM davadaMtI ane naLa pAchAM maLe che e prasaMge kavi lakhe che: uttama sAthe prItaDI, pahelI thoDI joya, nadI taNe paTaMtare, cheDe vadhatI hoya. nIca sarIsI prItaDI, pahelI adhikI thAya, rAsabhanA bhukAra jima, cheDe tUTI jAya. kavi megharAjane AvI bodhaka kaDIomAM prasaMgocita prAcIna kathA"Atro ke ghaTanAonAM dRSTAnta ApavAno-arthAntaranyAsa alaMkAra prayojavAno paNa zokha jaNAya che. juo: juArI corI kare che, koIna gaNe lAja, paradharaNI dhana hArajI, pIDave gamAu rAja. mAMsa jIvano piMDa chejI, naraga taNe upAya, baga rAkSasa narage gayojI, mAMsa taNe supasAya. padArA dukhadAyanIjha, apajasano bhaMDAra, jAta gamADe dravyanuM, rAvaNa carita saMbhAra. corI dukhanuM mULa che, naragataNuM e dUtI, vadha baMdhAdi bahu parejI, maraNa lahe zivabhuti. ghevara kSepaka tapasvI thayo, krodha prabhAve narake gayo, cAritrya pAtyAna e sAra, upazama kIje sukhadAtAra.

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vAcaka megharAjakRta naladavadaMtI carita H 195 pavanaMjaya nRpagahinI, hanumaMtanI je mAya, satI ziromaNI aMjanA, dukhaNI vanamAM thAya. jIvatAM pAme jaga, sukha sabaLAM saMsAra, yathA bhAnu maMtrIsare, pAmI sarasatI nAra. Ama, A rAsamAM kavie sthaLe sthaLe saraLa bhASAmAM, sadAnta, sAlaMkAra AvA dUhAo mUkyA che. ema karavAthI alabatta, rAsa vadhu rasika banyo che ane rAsanA svarUpanI eka viziSTa chApa ApaNuM mana upara paDe che. tema chatAM, agAu batAvyuM tema, keTalIka vAra AvA dUhAomAM pramANabhAna jaLavAyuM nathI. keTalIka vAra eka vicAramAMthI bIjA vicAramAM viSayAMtara paNa thatuM gayuM che. ane viyoga pachI naLa-davadaMtInA milanaprasaMge strI vize kavie nIcenI je paMkitao lakhI che temAM aucityabhaMga paNa thato hoya ema jaNAya che : nArI vayaNe koNa na cUke, subhaTa ziromaNI dhIraja mUke, strI pharase vihase tarUdhAta, to mANasanI keNI vAta. zastra zAstra pUrA jike, kehajo nA nAme zIza, te paNa nArI bolaDe, cUke visAvIsa. mAtapitAne vaMciye, sagAM saNejA bhAya, nArI nehe vaza karyA, mAhA te gahilA thAya. tAM lage mati budhi sAMbhare, jo lage zAstra vicAra. nArI sAthe goThaDI, jA nahu kare apAra. Ama, vastu, pAtrAlekhana, prakRtivarNana ityAdinI daSTie ekaMdare jotAM nayasuMdara, samayasuMdara ke mahIrAjanA naladavadaMtI vizenA rAsanI kakSA sudhI A rAsa pahoMcI zake evo nathI, ane RSivardhananA rAsa pratyenuM enuM RNa ghaNuM moTuM che. tema chatAM kavie batAvelI potAnI maulika zaktinI daSTie jotAM ApaNA madhyakAlIna rAsasAhityamAM A rAsa noMdhapAtra sthAna dharAve che ema avazya kahI zakAze.

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azakayane zakya karI batAvavAno paDakAra jhIlatI 5tnI : eka madhyakAlIna kathArUDhi janaka dave strInuM mAnI lIdheluM, ke vAstavika abhimAna toDavA mATe pati taraphathI strIne, potAnuM sAmarthya puravAra karI ApavAno paDakAra pheMkAya che; ane e paDakAra jhIlIne strI, mAgaNI pramANe, asAdhAraNa vastune potAnI caturAI ne dakSatAthI siddha karI Ape che, evI kathArUDhi lokavArtAomAM ThIkaThIka prayojAI che. AvI kathArUDhi prathama ApaNane bAramI zatAbdInI eka jaina prAkRtaracanAmAM maLe che. I. sa. 1143(vi. saM. 1199)mAM lakSmaNagaNie racelI "supAsanAhacaria"mAM "paradA rAgamanaviramaNavRtta viSaye anakrIDA-aticAre dhanakathA'nI vArtAmAM e kathArUDhi prayojAI che. enI vArtA nIce pramANe che : vikramapura nagaramAM vikrama nAme rAjA rAja karato hato. te nagaramAM siddhitilaka zeTha potAnI patnI lakSmI sAthe rahetA hatA. zeThane be dIkarA hatA. ekanuM nAma dhana ane bIjAnuM nAma dhanadeva. dhana svabhAve kAmI hato. dhanadeva dhArmika vRttino hato. eka parvane prasaMge e bannene koI kheDUta nagaranI pAsenA gAmanA khetaramAM laI gayo. tyAM AMbAnA vanamAM eka muni hatA. kheDUtanA kahevA pramANe te eka mAsathI khAdhApIdhA vinA ke nidrA vinA dhyAnastha beThA hatA. pelA banne bhAIoe munine yuvAvasthAmAM saMnyasta levAnuM kAraNa pUchatAM temaNe kahyuM ke khAsa kAraNa to temanI strI hatI. pilA bannenA AgrahathI temaNe potAnI vAta kahevA mAMDI : - zubhAvAsa nagaramAM ripumana rAjA rAja karato hato. vizALabuddhi teno maMtrI hato. maMtrInI patnInuM nAma hatuM ratisuMdarI. te nagaranA pUrva bhAgamAM eka udyAna hatuM. udyAnanA dvAra para eka AmravRkSa hatuM. te vRkSa para pArasika dezanA popaTanI joDI hatI. te joDuM sukhathI rahetuM hatuM. temane eka putra thayo. popaTIne ekavAra khabara paDI ke popaTa parakiyAsakta che. teNe popaTane potAnI saMga karavA devAnI nA pADI, ane pelI popaTInA mALAmAM javAnuM kahyuM. popaTe potAno guno kabUla karyo ane kSamA paNa

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azakyane zakya karI batAvavAno paDakAra jhIlatI patnI : eka madhyakAlIna kathArUDhiH 197 mAgI, paraMtu popaTI have te popaTanuM moTuM paNa jovA mAgatI na hatI. popaTe jatAM jatAM potAnA putranI mAgaNI karI. popaTI putra ApavA taiyAra na hatI. banne rAjA pAse nyAya karAvavA gayAM ane banee potapotAnuM vRttAMta kahyuM. rAjAe zAstravA kahyuM ke putra pitAno ane putrI mAtAnI; athavA to putrI paNa pitAnI. vAvanAranuM ja bIja hoya. kheDUta khetaramAM vAve tenuM ja sarva upAdana hoya che. popaTIe nyAya svIkAryo, paNa rAjAnI vahImAM e niyama lakhAvyo. popaTIe popaTane putra soMpI dIdho. eka muni hatA. popaTIe tene potAnuM AyuSya pUchyuM. munie kahyuM ke trIje divase tuM mRtyu pAmIza, ane pradhAnane ghera putrI tarIke janmIza, kAraNake te manuSyadeha mATe karmo bAMdhyAM che. A vAta sAMbhaLI popaTI jinamaMdiramAM gaI ane jinane namaskAra karIne koInI pAse maMdiranA uparanA bhAgamAM pUrvokata akSaro (muninA zabdo) lakhAvyA-evA vicArathI ke kadAca AvatA bhavamAM pharatAM pharatAM ahIM AvuM ane A akSaro mArI dRSTie paDe to mane mArA pUrvajanmanuM smaraNa thAya. pachI teNe vizALabuddhinI zrI ratisuMdarIne paTe bahu suMdara kanyA tarIke janma lIdho. bhuvanAnandA nAma dhAraNa karyuM. thoDA samayamAM bhaNIgaNa hoziyAra thaI. eka divasa udyAnanA jinamaMdire AvI tyAM pelA akSaro joIne tene pUrvavRttAMta yAda Avyo, ane jinabhakitane prabhAve potAne manuSyadeha maLyo tethI jina pratye vizeSa bhakitazALI thaI pradhAna pAse eka uttama ghoDo hato. rAjAnI ghoDIne tenAthI ghaNA vacherA thayA. rAjAe te potAne tyAM magAvyA. bhuvanAnandAe te ApavA na dIdhA. teNe kahyuM : "mArA pitAnA ghoDA dvArA e utpanna thayA che mATe tenI mAlikI mArA pitAnI gaNAya, rAjAnI nahi. popaTa-popaTInA vivAda vakhate Apelo nyAya rAjAe lakhyo che." vahI vAMcI rAjA vismaya pAmyo. rAjAne thayuM? A koI bAlapaMDitA che. rAjAe pradhAna pAse tenuM mAthuM karyuM ane pote lagna karyA. lagna pachI rAjAe kahyuM: "he bAlA, tuM to moTI pIDitA cho, to jyAM sudhI sarvottama guNavALo putra tuM upane nahi kare tyAM sudhI tAre mArA gharamAM paga mUkavAno nathI." bhuvanAnandAe javAba Apyo: "priyatama, jarUra evo putra jamyA pachI ja huM tAre tyAM AvIza, ne tuM mArI pratijJA paNa sAMbhaLI le. huM kharekharI paMDitA houM to tAre hAthe mArA paga dhovarAvIza ane tArI pAse mArI mojaDI UcakAvIza." Ama banne vacce ekAMtamAM vAtacIta thaI bhuvanAnandA piyara pAchI AvI. pitAne ekAMtamAM badho vRttAMta kahyo. pradhAne kahyuM: "dIkarI, A to bahu daITa che." dIkarIe javAba Apyo : "buddhi mATe kazuM durdhaTa nathI. rAjAnA mahelanA pAchaLanA bhAgamAM RSabhadevanuM eka maMdira karAvo, tyAM traNe samaya hamezAM nRtyano utsava thato rahe tevI vyavasthA karo ane tyAM nartakIonA AvAsa vacce mAruM paNa eka ghara baMdhAvo." e rIte maMdira vagerenuM nirmANa thayuM ane tyAM keTalIka suMdara, saMgItakuzaLa, nRtyakuzaLa, vAdanakuzaLa gaNikAo rAkhavAmAM AvI. eka paNa puruSa tyo nahoto rAkhI. bhuvanAnandI pote paNa nRtyamAM bhAga letA. eka vAra rAtrI pUrI thavA AvyA hatA tyAre rAjAe gIta sAMbhaLyuM. pAchale bAraNethI te nIkaLyo ane jinamaMdiramAM gayo. teNe tyAM asarAonuM vRMda nRtya karatuM hoya tevuM dazya joyuM. bhuvanAnandA paNa tyAM nRtya karatI hatI. rAjA enA pratye AkarSAyo. rAjA dAsano veSa laIne tyAM gayo. natya pUruM thatAM bhuvanAnandA pAlakhImAM besI potAne AvAse gaI rAja paNa tene tyAM gayo. bannee sAthe rAta gALI. Ama dararoja rAjA nRtya joto ane bhuvanAnandAne tyAM rAtrI gALato. rAjA bhuvanAnandAne A daramiyAna je je kaMI kaheto te bhuvanAnandA potAnA pitAne jaNAvatI ane pradhAna paNa te badhuM eka vahImAM lakhI leto. eka divase bhUvanAnandA jANI joIne potAnI mojaDI bhUlI jaIne pAlakhImAM besI gaI. rAjAne kahyuM : "mArI mojaDIo rahI gaI che, to tame lAvaje." pelo rAjA bhojaDIo mAthe caDAvIne lAvyo. te rAtre paNa rAjA tyAM

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198H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha ja sUto. adha rAtre bhuvanAnandA tene kahe, "Aja mArA paga bahu baLe che, to jarA dAsIne jagADo ke mArA paga taLAse." paNa dAsIne bolAvavAne badale rAjA pote ja paga taLAMsavA mAMDyo. bhuvanAnandAe tene khUba vAya to paNa te taLAMsavA mAMDyo. pachI te nirAMte sUI gaI. svamAmAM teNe pUrNa candrane potAnA mukhamAM pravezato joyo. te jAgI gaI. paga taLAMsatA rAjAne teNe kAma choDAvI svamananI vAta kahI. "sundarI, tane uttama putra thaze." rAjAe kahyuM. savAra sUcavato zaMkha vAgatAM rAjA potAne mahele gayo. bhuvanAnandA potAne piyara gaI. pitAne badhI vAta kahI ane garbhanuM rakSaNa karatI sukhe rahevA lAgI. bIje divase rAjA gaNikAvAsamAM gayo. tyAM bhuvanAnandAne na jotAM tenI paDozaNane pUchayuM : "pelI lIlAvatI kyAM gaI?" paDozaNe ajJAna batAvyuM. rAjA duHkhI thaI ghera gayo. vaLate divase teNe pradhAnane pUchayuM : "tArA maMdiranI mukhya gAyikA lIlAvatI kayAM gaI?" pradhAna kahe: "mahArAja, meM ja ene kAla parANe kADhI mUkI. e koI ThAkoranA putrane haLI gaI hatI. niyamita maMdiramAM AvatI na hatI, sarakhuM kAma karatI na hatI ane zikhAmaNa ApatAM raDavA besatI ane takarAra karatI, eTale meM kADhI mUkI ane ene sthAne bIjIne niyukta karI." rAjA mUgo thaI gayo. bhuvanAnandAne yogya samaye uttama lakSaNavALo putra thayo. samaya jatAM te paNa vidyAkaLAmAM pAraMgata thayo. eka divase maMtrI bhuvanAnandAne tenA putra sahita rAja pAse laI gayo. rAjAe pUchayuM : "A mahilA koNa che?" maMtrIe kahyuM: "mahArAja, tamArI patnI ane mArI putrI che, A tamAro putra ane mAro dohitra che." rAjA kaMI e viSayamAM bole e pahelAM pradhAne tenA hAthamAM vahI soMpI dIdhI. e vahImAM rAjAe je kaMI kahyuM hatuM te badhuM vivaraNa sAthe lakhI lIdhuM hatuM. rAjAe harSa-viSAda sAthe kumArane bheTIne potAnA khoLAmAM lIdho ane bhuvanAnandAne kahyuM: "te mane jItyo che, ane huM tArAthI prasanna chuM--tArI pratijJA pUrI karI tethI ane putra prAptithI prasanna chuM. AjathI A rAjaya tAruM ane tAro putra rAjA. huM have mAruM ISTa kartavya karIza. A badhA bhogane dhikkAra che. puruSazvAna evA mane dhikakAra che. rAjayane paNa dhikkAra che." maMtrInA vAravA chatAM rAjAe kumArano abhiSeka karyo, ane pote dIkSA lIdhI. muni kahe che ke A mAruM vRttAMta che. aMta: A vArtAmAM bhuvanAnandA patinI upekSA pAme che. rAjA-ke je teno pati che-tene moTI paMDitA' kahI potAnI zakita puravAra karI ApavAno paDakAra pheMke che. bhuvanAnandA Akhare e ja rA pAse potAnA paga dhovaDAve che. mojaDI UcakAve che ane tenA dvArA ja putra prApta kare che. bhuvanAnandA potAnuM buddhicAturya puravAra karI Ape che. pati taraphathI pheMkAyelA paDakArano hiMmatathI sAmano kare che. A kRti 1199mAM racAI che, paNa te kartAnI potAnI ja kRti lAgatI nathI. koI pracalita lokakathAno upayoga kartAe karyo lAge che. AraMbha ane aMtamAM jainatatva goThavI dIdhuM lAge che. - I. sa. 1443(vi. saM. 1499)mAM racAyela paMDita zrI zubhazIlagaNita "vikramacaritrama mAM saubhAgyasuMdarInI vArtA Ave che. A vArtAmAM strI pote baDAza hAMke che ane pachI e baDAza puravAra karI AvavAnuM potAne mAthe Ave che tyAre patino paDakAra jhIlI laI baDAza pramANe vartana karI batAve che. vArtA A pramANe che : . ekavAra vikrama nagaracaryA jevA nIkaLyo hato. teNe be bALAone vAta karatI sAMbhALI. eke kahyuMH "huM paraNIne sAsu-sasarAnI sevA karIza ane patinI bhakti karIza." bIjIe kahyuM "huM to paraNIne patinI sAthe sAsare jaI patine chetarIza, ane parapuruSa sAthe majhA karIza." rAjAe A bIjI bAlA saubhAgyasuMdarI sAthe lagna karyuM. rAjAe tene ekadaMDiyA mahelamAM kedI jevI sthitimAM rAkhI. rAjAe tene tenI bahenapaNI sAthe hAMkelI baDAza pramANe karI batAvavA kahyuM. thoDA samaya pachI ekavAra avaMtImAM gaganali nAme vepArI vepAra karavA Avyo. te ekadaMDiyA mahela pAsethI pasAra thato hato. saubhAgya

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azakyane zakya karI batAvavAno paDakAra jhIlatI patnI : eka madhyakAlIna kathADhi : 199 suMdarI tene joI vyAkuLa thaI gaI. teNe kAgaLanI kaTakI para akSara pADI, pAnanA khIDAmAM mUkI, te khaDuM vepArI para nAkhyuM. uparathI kaMI paDeluM joI vepArIe upara joyuM. apsarA jevI strI teNe joI, bIDuM kholyuM. aMdaranI ciThThI vAMcI. strI AvavAnuM nimaMtraNa ApatI hatI ane na Ave to deha pADavAnuM kahetI hatI. bIje divase madhyarAtrIe kAmadevanuM pUjana karI, pachI pATalAdyonI madadathI te saubhAgyasuMdarI pAse pahoMcyo. khAnapAna tathA bhoga bhogavI gaganadhUli cothA pahore cAlyo gayo, vagere...vagere. ahIM joI zakAya che ke game tevI vikaTa paristhitimAM mUkelI strI paNa hiMmata ane dhIraja rAkhI Akhare pheMkAyelA paDakAra pramANe karI batAve che. A ja kathArUDhimAM madhyakAlIna vArtAkAra zAmaLanI 'strIcaritranI vArtA' nAmanI vArtA, je 'siMhAsana- atrIzI'mAMnI 29mI vArtA che, tene mukI zakAya. A vArtAmAM eka vaNikakanyA rAjA vikramane evo paDakAra pheMke che ke vikramacaritra kAMI duniyAmAM sauthI zreSTha nathI; sauthI zreSTha to che strIcaritra. rAjA A kanyAne pATha zIkhavavA icche che. enI sAthe potAnA putra vikramacaritrane paraNAve che. varavahune maLavA detA nathI. vahune ekAMtavAsamAM goMdhI rAkhe che. vaNikakanyA dAsI mAraphata potAnA pitAne vIMTI mokale che. vIMTInA hIrAnI nIcenI ciThThI vAMcI pitA, putrI rahe che tyAM sudhI bhoMyaruM khodAve che te e vATe putrI bahAra Ave che. eka vAra sAbaliyaNu banI vikramacaritrane mohAMdha kare che ane eno saMga karI putra meLave che. AbhUSaNavao paNa meLave che. vaLI pAchI jogaNI khanI saMjIvana-vidyAnA lobhI vikramacaritrane chetare che. pAcho teno saMga karI tenI dhanadolata paDAvI le che ane putra paNa meLave che. pachI jANe kazuM ja jANatI nathI evo dekhAva karI ekAMtavAsamAM rahe che. putrone pAraNe jhulAvatI hAlaraDAM gAya che. rAjAne ane rANIne kautuka thAya che. putra vikramacaritrane te putravadhU pAse gayo hato ke nahi te pUchI jue che. putre spaSTa nA pADatAM vaNikakanyAnI vale karavA taiyAra thAya che. kanyAnAM mA-bApane bolAvI tenAM caritra dekhADavA garva kare che. kanyA je banyuM hatuM te badhuM varNave che. kuMvaranAM vastra, AbhUSaNa, ratno, hathiyAra badhuM hAjara kare che. putra zaramiMdo banI, banI gayelA prasaMgono svIkAra kare che. rAjA vikrama, sauthI vaDuM strIcaritra ema svIkArI putravadhUno Adara kare che. ahIM sasarAe pheMkelo paDakAra putravadhUe jhIlI lIdho che. te A ja kathArUDhine maLatI eka vArtA siMdhanI prAcIna kathAomAM jovA maLe che. * birasiMga ane suMdaraAI nI vArtAmAM sundaraAI kevI rIte patino paDakAra jhIlI le che ane potAnI baDAzanA zabdone kevI rIte kharA pADe che te nIcenI vArtA vAMcatAM jaNAya che : sAyalAnA rAjA kesarIsiMgane sundarabAI nAmanI ati svarUpavAna kanyA che. te eka vAra potAnI sakhIo sAthe udyAnamAM ramatI hatI. nRtya ane gIta pUrAM thatAM sAhelIo mAMhomAMhe vAto karavA mAMDI. sundarabAI kahe : " huM valabhInA rAjakumAra birasiMgane paraNIza, ane ene premathI evo jItI laIza, ke e bIjA koI ne jue ja nahi. ane jo e mane huM kahuM tema rAkhaze nahi to huM tene mArI zakti ane hiMmatathI batAvI ApIza, ke strIo paNa sarva rIte puruSasamovaDI hoya che. pachI e potAnAthI ja zaramAI ne mane cAhaze ane mAna Apaze, te huM kahuM te pramANe karaze.'. birasiMga A vakhate e ja udyAnamAM hato. te mRgayA karavA nIkaLyA hato. sAthIothI vikhUTo paDI gayo hato. teNe sundarabhAInI bAzanA A zabdo sAMbhaLyA. tenuM rUpa joI ne to e AkarSAyo ja hato. pitA pAse sundarAbAI mATe mAguM karAvI tene ekAntavAsa Apyo. besatA varSane divase mandiramAM chupAI rahyo. sundarabhAI pArvatI pAse AzIrvAda mAgatI hatI tyAre pragaTa thaI, pelA udyAnamAM uccArelA zabdo pramANe pharI batAvavA 1. Tales of old Sind, page 107-115.

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20zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI kahyuM. sundarabAI lAcAra hatI. eka vAra teNe dAsI mAraphata potAnA pitAne vIMTI samarAvavA mokalI ApI. pitAe vIMTInA hIrA nIcenI ciThThI vAMcI. putrIne duHkhe duHkhI thayA. putrIne sahAyarUpa thavA puruSano pozAka, ghoDo ane bakhtara mokalI ApyAM. pachI putrInA mahela sudhI bhoMyaruM khodAvyuM. putrI e bhoMyarAnA mArge ekAMtavAsamAMthI bahAra AvI. sundarabAI puruSano veSa dhAraNa karI, ratanasiMha nAma rAkhI, birasiMganA pitA pAse darabAramAM nokarI meLavavA AvI. tene nokarI maLI. suMdarabAIe thoDA dahADamAM yukti karI prajAne raMjADatA siMhane mAryo. rAjAe tene e badala mAna ane InAma ApyAM. ekAda varasa bAda te rAjA sAthe zikAre gaI rAjAnI gerahAjarIno lAbha laI paDozI rAjAe valabhIpura para AkramaNa karyuM ane . birasiMga paNa pakaDAI gayo. suMdarabAIe potAnA pitA pAsethI sahAya laI bhoMyarA mAraphata valabhIpuramAM praveza karIne te pAchuM meLavyuM ane birasiMgane paNa choDAvyo. ekavAra ratanasiMha rUpe suMdarabAI potAnA mahela tarapha gaI. birasiMga potAnA mitra ratanasiMhane maLavA icchato hato. loko pAsethI jANyuM ke te sundarabAInA AvAsa tarapha gayo che eTale e vahemAyo. suMdarabAIe tene satkAra karyo, paNa krodhita birasiMge tene ratanasiMhanA samAcAra pUchyA. sundarabAIe potAnA tarapha vadhAre dhyAnathI jovAnuM birasiMgane kahyuM ane bheda kaLAI gayo. ratanasiMha bIjo koI nahi, paNa puruSanA veSamAM sundarabAI ja hatI. suMdarabAIe potAnI baDAza puravAra karI ApI. patie patnIno satkAra karyo. - A vArtAmAM strInI baDAza, lagna pachI sajAnA rUpamAM maLelo ekAMtavAsa, strI taraphathI pitAne vIMTI tArA ciThThI mokalavI, bhoMyarAnI racanA ane e dvArA bahAra AvI potAnI zaktio batAvavI, khoTA bhraSTAcAranA ALamAMthI mukata thavuM, vagere aMzo zAmaLanI "strIcaritra"nI vArtAne maLatA Ave che. ane A ja kathArUDhi pUrvamAMthI pazcimamAM jatAM tyAMnA lokasAhityamAM kevuM sthAna pAme che te nIce darzAvelI bokeziyonA "DekAmeronI"nI trIjA divasanI navamI vArtA jotAM samajAze. phrAnsano kAunTa oNpha rojhIglIonA nAme sadagRhasthano putra banDa potAnA pitanA vaidyanI dIkarI TA joDe uryo hato. pitAnA mRtyu bAda banDa pirisa gayo. gIleTA paNa pitAnA mRtyu bAda perisa javA icchatI hatI ane banDane maLavA icchatI hatI. paNa sagAMsaMbaMdhIo tene tema karavA detAM na hatAM. ekavAra gIleTAe sAMbhaLyuM ke phrAnsanA rAjAne chAtI para gUmaDuM thayuM che ane koI vaidha maTADI zakato nathI. teNe pitA pAsethI sAMbhaLelI vastuomAMthI davA taiyAra karI ane e bahAne perisa gaI rAjAne ATha divasamAM sAjA karavAnuM bIDuM jhaDapyuM ane tenA badalAmAM pote pasaMda kare te yuvAna paraNAvavAnuM rAja pAsethI vacana lIdhuM. teno upacAra saphaLa thayo. rAjAe tene pasaMda hoya te yuvAna sAthe paraNAvavAnuM vacana pALyuM. gIleTAe banDane pasaMda karyo hato. barTrAnDa A lagnathI rAjI na hato, paNa rAjAnI AjJA avagaNI zake tema na hatuM. lagna bAda gIleTA ane benDa potAne vatana jatAM hatAM, paNa baTTenDa vatana jaI gIleTA sAthe rahevA taiyAra na hato. e to phalorenTAInTanA lazkaramAM joDAyo. gIleTa ekalI vatana gaI. teNe patine saMdezo kahevarAvyo ke jo tuM mArA khAtara ja vatana na jato ho to huM game tyAM cAlI jaIza. teno javAba baDe e Apyo ke tane sUjhe te karI zake che. paNa huM to tAro tyAre ja svIkAra karuM ke jyAre tArI AMgaLI para mArI vIMTI hoya ane khoLAmAM mAro putra hoya. pachI gIleTA dAsI sAthe jAtrAe nIkaLI ane phalorensa AvI. tyAM eka vidhavAnA gharamAM mukAma karyo. tyAM teNe potAnA patine joyo. te bAjumAM rahetI garIba strI, je garIbAIne kAraNe potAnI

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azakayane zakya karI batAvavAno paDakAra jhIlatI patnI eka madhyakAlIna kathArUDhiH 201 putrInAM lagna karI zakatI na hatI, te putrInA premamAM hato. gIleTAe te strIne potAnI putrInA lagna yAMka bIje karavA prakaLa dhana ApyuM ane potAne tenI dIkarI tarIke khapAvI devA vinaMti karI. pahelAM to banDanI vIMTI meLavI pachI teno samAgama karyo. tene be putra janmyA tyAM sudhI te phalorensamAM ja rahI. banDa potAnI prajAnI icchAne mAna ApI vatana gayo. tyAM teNe "pArTI' goThavI hatI. badhAM AmaMtrito Tebala para goThavAtAM hatAM tyAM ja gIleTA potAnA be putro sAthe AvI pahoMcI. berTAnDane potAnA vacananI yAda ApI viTI ane putro batAvyA. baTTenDa gIleTAnI caturAInI vAta sAMbhaLI khuza thayo ane patnI tarIke teno svIkAra karyo. zAmaLanI "strIcaritranI vArtAmAM paNa vaNikanyA potAnA ja pati sAthe parakiyAno saMbaMdha bAMdhI putrI meLave che. putro ane rAjakumAre ApelI bheTasogAdo hAjara karI potAnI caturAIthI saune mugdha kare che ane mAnabharyuM sthAna prApta kare che. A rIte bokeziyonI vArtAnA keTalAka aMzo sAthe strIcaritranI vArtAnA keTalAka aMzonuM sAmya che. A ja kathArUDhi arvAcIna vArtAkArone paNa AkarSe che. "strIcaritranI navIna vArtAomAM "nanubhaTa tathA tenI strI guNasuMdarI'nI vArtA che. ahIM paNa guNasuMdarI patie pheMkelA paDakArane jhIlI le che ane pati samakSa potAnuM cAritrya puravAra karI Ape che. kaMtalapura nagaramAM premabhaTa nAme brAhmaNa hato. tenI strInuM nAma kesara hatuM. teno putra nanubhaTa hato. nanubhaTa bAra varSano thatAM tenA pitA mRtyu pAmyA. nanuM kaMI bhaNyo na hato. saunA kahevAthI UmayApuramAM paMDita somezvarane tyAM bhaNavA gayo. paMDite nAmAma pUchatAM vidyArthI tene jamAI nIkaLyo. paNa teNe te vAta pragaTa karI nahi ane jamAIne nAmaThAma badalIne rahe to bhaNAvavAnuM kabUla karyuM. garaju nanue paMDitanI vAta svIkArI. vakhata jatAM nanuM moTo paMDita thayo. eka vAra gurune bahAragAma javAnuM thayuM, paNa potAnI gerahAjarImAM rAjAne tyAM kathA koNa vAMce te prazna thayo. pachI teNe nanune kathA vAMcavA mokalavAnuM nakkI karyuM. guru bahAragAma jatAM nanuM rAjAne tyAM kathA vAMcavA gayo. nanunI vANI sAMbhaLI somezvaranI putrI guNasuMdarI mohI paDI. rAjA guNasuMdarInA hAvabhAva nihALavA lAgyo. yuvAna ane suMdara guNasuMdarI para rAjA mohI paDyo. rAjAe dAsI mAraphata tene bolAvavAnI tajavIja karI. rAjAnuM teDuM sAM guNasuMdarI gUMcavAI gaI. teNe tenI benapaNI caMcaLamatinI salAha lIdhI. caMcaLamatie tene eka prakAranI davA ApI. pachI guNasuMdarI rAjA pAse javA taiyAra thaI. enA paMDita pitA bahAragAmathI AvI gayA hatA. teNe tene kahyuM : "pitAjI, bhAre mahAlakSmInI pUjA karavA javuM che to sAthe koI vidyArthIne mokalo." paMDitajI samaja hatA. dIkarI javAna che mATe bIjA koI vidyArthI karatAM nanubhaTane sAthe mokalavo sAro ke jethI kaMI bane to vAMdho nahi. Ama mAnI paMDite nanune guNasuMdarI sAthe mokalyo. guNasuMdarI to maMdire javAne badale UMdhI ja dizAmAM cAlI. nanubhaTa vicAra karato sAthe cAlyo. guNasuMdarI to rAjAnA mahelamAM gaI. nanubhaTane dAdara para besI je bane te jevA kahyuM. rAha jotA kAmAtura rAjAne teNe davAvALuM bIDuM ApyuM. rAjA tenA tarapha dhasI Avyo. guNasuMdarIe bahAnAM kADhyAM. thoDI vAramAM rAjAne nazo caDyo ane gabaDI paDyo. paMDitanI putrI nIce AvI. UMghatA nanune uThAvyo ane ghera cAlI. nanae mAnyuM ke chokarIe kALe kAma karyuM che. paNa pote kazuM ja bolyo nahi. pachI paMDite teno abhyAsakALa pUro thayo gaNI ghera javA AjJA ApI. nanu ghera gayo. tenI paMDitAIthI sau khuza thayAM. pachI saunA kahevAthI te potAnI bALapaNamAM paraNelI strIne teDavA gayo. paNa Azcarya! je gAmamAM te bhaNavA 1 "strIcaritranI navIna vArtAo' mahamada enDa mahamadabhAI kAgadI (saM. 1985; I. sa. 1929).

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202 zrI mahAvIra jana vidyAlaya suvarNa mahotsava prastha gayo hato tyAM ja te gayo. ane vadhAre Azcarya to e thayuM ke enA guru ja enA sasarA nIkaLyA. tene guNasuMdarIno rAjA sAtheno vyavahAra yAda Avyo ane du:khI thayo. gurunA moDhAnI zarame patnIne sAthe teDI gayo. patnI tenI sevApUjA karatI, paraMtu tene to cIDa ja caDatI. teNe patnInuM nAma guNasuMdarIne badale zuddhasuMdarI rAkhyuM ane e nAme ja bolAvato. guNasuMdarI patinA AcaraNano bheda pAmI gaI. tene lAgyuM ke huM mArI pavitratA mATe samajAvavAno prayatna karIza to paNa pati mAnaze nahi, mATe koI bIjI yuktithI kAma sAdhavuM paDaze. pachI eka vAra teNe patine kahyuM: "piyarathI patra Avyo che ane mane teDAve che, rajA Apo to jAuM." patine to tenuM moTuMya gamatuM na hatuM eTale teNe turata rajA ApI. strI thoDAM lUgaDAM laI cAlI nIkaLI ane gAmane bIje daravAjethI zaheramAM pAchI AvI. vANiyAne tyAM ghareNAM mUkI rUpiyA pacAsa upADyAM. eka ghara bhADe rAkhyuM. e dAsIo rAkhI. brAhmaNane tyAMthI zrImad bhAgavatanuM pustaka lIdhuM. bhasma lagAvI. rudrAkSanI mALA paherI, sapheda vastra dhAraNa karIne jogaNI banI kathA vAMcavA lAgI. dhIme dhIme karatAM hajAro mANaso tenI kathA sAMbhaLavA AvavA lAgyAM. teno pati paNa eka vAra kathA sAMbhaLavA gayo. jogaNInA prabhAvathI prabhAvita thayo ane eka vAra tene maLyo paNa kharo. maLIne kahyuM : " huM brAhmaNa chuM, vidvAna chuM. Apa je vivAda karavA ekAMtamAM bolAvazo to upakAra thaze." jogaNIe kahyuM: "huM koI parapuruSane ekAMtamAM maLatI nathI." nanubhaTe bahu vinati karI tyAre bIje divase AvavA kahyuM. bIje divase nanubhaTa jogaNIne tyAM gayo tyAre dAsIe tene aMdara AvavA dIdho. guNasuMdarIe kahyuM : "mAre nitya eka brAhmaNa jamADavAno niyama che, to Aja A5 prasAda lezo ?" brAhmaNe turata ja hA kahI, eTale tene cokhA ApyA ane thoDI vAramAM ja dUdha ane sAkara paNa ApyAM. rasoI taiyAra thaI eTale gaNIe kahyuM : "mahArAja, prathama mArA hAthanA be koLiyA jamo." brAhmaNa camakyo. teNe kahyuM : "brAhmaNa jogaNInA hAthanuM kema jame?" jogaNIe uttara Apyo : "tame vidvAna ja nathI. vedamAM sarva jagata sarakhuM gayuM che, te tame jANatA nathI ?" brAhmaNa tenA hAvabhAvathI mohI paDyo. te jogaNInA hAthanuM jamyo. komanI lAlace bhraSTa thayo. jogaNIe dAsIne kahI rAkhyuM ke brAhmaNa jamI rahe eTale ene dakSiNa ApI kADhI mUkaje. brAhmaNa jamIne vastro paherI besavA jato hato tyAM dAsIe eka rUpiyo tathA pAnasopArI ApyAM ane javAnuM kahyuM. mahArAjanI ekadama javAnI icchA na hatI, paNa dAsIe jogaNIno sUvAno samaya thayo che mATe jAva, kahI dhakko mArI bahAra kADhyA. vaTalAyA paNa kAma thayuM nahi, tethI brAhmaNa pastAvA lAgyo. be divasa pachI jogaNe je choDI dIdho ane potAnAM mULa vastra paherI gAmane bIje daravAjethI potAne ghera gaI. brAhmaNa tene AvatI joI cIDAyo ane kaTAkSamAM kahyuM: "Avo zuddhasuMdarI." bAI to kAMI bolI ja nahi. bIje divase pANI bharI AvI ane uMbarA para beDuM pachADI pati sAthe laDavA mAMDI. kahevA mAMDIH "mArA gayA pachI tame AcAravicAra choDI kevuM vartana karyuM tenI gAmamAM hohA thAya che ane have tamane koI bhikSA mATe gharamAM paga mUkavA devAnuM nathI." ane vadhumAM kahevA lAgIH "tame koNa jANe kevIya jAtanI gaNanA hAthanuM khAdhuM tenI AkhA gAmane jANa che ane nAtapaTela to tamane nAtabahAra mUkavAnI vAta kare che." gabharAIne nanubhaTe tene vizvAsamAM levA prayatna karyo. tene pacAsa rUpiyA ApI nAta paTelane samajAvI AvavA mokalI. guNasuMdarI rUpiyA laI potAnAM kaDalAM (dhareNAM) laI AvI ane patine kahevA mAMDI: "badhuM samuM karI AvI chuM. nAtapaTela pacAsa rUpiyAmAM nahotA mAnatA paNa mArA piyaranA nIkaLyA te mAnavI lIdhA che. have ApaNuM nAma nahi de." thoDA divasa to guNasuMdarIe potAnAM rasoIpANI judAM rAkhyAM. pachI brAhmaNa AgaLa paDado kholyo. pote ja jogaNI hatI te kahyuM,

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azakayane zakaya karI khatAvavAno paDakAra jhIlatI patnI : eka madhyakAlIna kathArUDhi : 203 ane samajAvyuM ke Ama ja rAjA kIrttisiMhane pote chetaryo hato ane pavitratA jALavI hatI. jo potAne bagavuM hota to dAdara para besI badhuM jovAnuM zA mATe kaheta ? ahIM strI vahemI patie pheMkelo jIvanano paDakAra jhIlI le che ane potAnI buddhicAturI vAparI potAnI pavitratA puravAra karI Ape che. koI paNa dezanuM paraMparAprApta vArtAsAhitya aitihAsika ane tulanAtmaka dRSTie joI e to temAM ThIka ThIka samAna ane vAraMvAra Avartana pAmatA rahetA hoya tevA aMzo ApaNane mAlUma paDaze. te ja pramANe koI eka prajAnAM AvAM paraMparAgata vArtAsAhityanI khIjI prajAonAM tevAM ja vArtAsAhitya sAthe tulanA karatAM vAraMvAra kaMIka vigatabhede ke kaMIka rUpAMtara sAthe aneka sthaLe maLatA hoya tevA dhaNA aMzo dekhAze. ahIM ApaNe joyelI lakSmaNanI khAramI zatAbdInI jaina prAkRtaracanA ane tyArabAda paMdaramI zatAbdInI zubhazIlanI racanA ane te pachInI zAmaLanI aDhAramI zatAbdInI racanAmAM eka ja kathADhi keTalAMka Avartano sAthe jaLavAi rahelI jovA maLe che. vaLI A ja kathArUDhi siMdha dezanI lokavArtAmAM najare caDe che. pazcimanI caudamI sadInI 'DekAmerona'nI vArtAmAM paNa A ja kathADhi prayojAyelI ApaNe joI zakIe chIe. saMbhava che ke jema jema A prakAranuM kathArUDhinA tulanAtmaka abhyAsanuM kSetra vistaratuM jAya tema tema ApaNane saMskRta, prAkRta, jUnI gujarAtI tathA lokavArtAmAMthI tema ja anya bhASAonAM tevA ja sAhityamAMthI aneka vArtAo maLatI jAya. ahIM darzAvAyelo abhyAsa mAtra A dizAmAM prAraMbha pUrato che.

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mA dayakAlIna gujarAta nA mukhya jaina sAhityakAro vijayarAya kalyANarAya vaidya bhAratIya saMskRtinA sarva abhyAsIo jANe che tema, bhAratavarSanA AryonA AryatvanA amRtarase jenAM mULa siMcana pAmyAM che, hajI pApe jAya che, te dharmavRkSanI vaidika, jena tathA bauddha e traNa bahuvidha phaLaphUla-paNe lacelI sundara zAkhAo che. e pratyekanA pravartakonI-bhRgusaMgirAtri Adi RSimunionI, mahAvIrasvAmInI tathA bhagavAna tathAgata budanI gaNanA jagatanI virala vibhUtiomAM thAya che. AjathI zatakonA zatako para e adhyAtmadarza adhyAtmaprabhAvI mahAtmAoe A dezanI prajAmAM adhyAtmalakSI balake adhyAtmaniSTha vedadharma, jainadharma tathA bauddhadharmane jadA judA samaye pravartita karyA. e pratyekanI ArSavANIthI prabhAvita thaIne, kaho ke e vacanAmRtane AtmasAta karIne ApaNA dezanAM prajAjanoe enA lAkSaNika bhinna bhinna pradezomAM yuge yuge ve nhe rmaSyamirataH saMsi ramate nA e prAcIna to ye nityanavIna bhagavavacana anusAra dharmapAlana dvArA jIvanasiddhi pUrvasaMskArabaLe karI che ane saMskRta, ardhamAgadhI tathA pAlIthI mAMDIne anyonya dezabhASAo dvArA vividha sAhityasiddhi paNa te te dharmasaMskatinA upAsaka asaMkhya sArasvatoe karI che. e ghaNuM kavio ane thoDA gadyasvAmIomAMnA je je A gurjarabhUmimAM ApaNA sAhityanA AdikALathI (DaoN. munazInA "guja, enDa ITsa limAM ullekhita taraMgAvatInA kavi pAdaliptAcArya (I. sa. 500 pahelAM) tathA haribhadra (750) dharmakathAonA racayitA: A baMneno ullekha ahIM vacce karI levo ghaTe)-AdikALathI IsavI aDhAramI sadI sudhImAM thaI gayA temAMnA mukhyanI sAhityasevAno iSatparicaya saMkSepamAM karAvavAno upakrama che. e nividane pAra paDe e mATe, jainadharma to paNa sarvadharma-samabhAvI zrImad hemacaMdrAcArye somanAtha bhagavAnanI (je tarave eka, paNa svarUpAntare to amArA iSTadeva che te hATakezanI) stuti je amara zlokathI karI che tenAthI AraMbha karavo ucita lAge che? yatra tatra samaye yathA tathA yo'si so'syabhidhayA yathA tathA vItadoSakaluSaH sa ced bhavAn eka eva bhagavan nmostute|

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madhyakAlIna gujarAtanA mukhya jaina sAhityakAroH 205 bhavabIjAkurAjananA rAgAdyAH kSayamupAgatA yasya brahmA vA viSNurvA mahezvaro vA namastasmai // [game te sthaLe, game tevA samaye, tame game te ho ane game te nAmathI oLakhAtA ho, paNa je maLadoSathI rahita ho to te eka evA Apa bhagavAnane namaskAra ho. bhavanA bIja aMkuranA kAraNarUpa evA, rAga Adi jenA kSaya pAmI gayA che evA te viSNu ho, brahmA ho ke mahezvara-zaMkara ho, tene namarakAra ho.]. athavA eTaluM ja zA mATe? e mahAna bhAratIya sArasvata ethI ya eka DagaluM AgaLa vadhIne jemAMthI brahmAMDanI utpatti thaI te paramAtmatatvanI gahana anubhUtipUrvaka stuti je eka bIjA prasiddhatara zlokamAM nimittabhede paNa AvirbhAva to te ja paramAtmAnA, ene saMsmarIne karI che, teno zabdArtha ja ahIM Apavo basa thaze : je vedya jagatane jANe che, jeNe utpattirUpI samudranI bhaMgionI pAra joyuM che, jenuM vacana pUrvApara aviruddha anupama ane niSkalaMka che, je sAdhupuruSone vaMdya che, sakala guNanA bhaMDAra che, doSarUpI zatrune jeNe naSTa karyA che evA te buddha ho, vardhamAna ho, zatadalInilaya nAma nivAsamAM rahetA kezava ho ke ziva, tene huM vandana karuM chuM." (bhASAntara, sva. mohanalAla da. dezAInuM) evA e AcArya hemacandrane mATe hiMdI bhASAnA vidvAna paM. zivadattajIe kahyuM che ke saMskRta sAhitya ane vikramAdityanA ItihAsamAM je sthAna kAlidAsanuM che, ane zrIharSanA darabAramAM bANabhaTTanuM, te ja IsavI bAramA zatakamAM caulukyavaMzobhava suprasiddha gurjara narendraziromaNi siddharAja jayasiMhanA itihAsamAM hemacandranuM che. "kalikAlasarvajJa" evuM moMghuM biruda je pAmyA te paMDita pravara jagatabharanI jIvanta jJAnakoSa sadaza nijanika yuge mahAna vADmayavibhUtio eNrisTaoNTala ne lIonArDo DA viMcI sAthe, bekana ane RIthI sAthe. amuka aMze peTika geDIsa ane eena. hAITaheDa sAthe, (jema, aMzataH maramI ItihAsa paMDita TaoNyalmI sAthe potAnI mahojavala pratibhAprabhAnA nivagha lakhalakhatA teje suhAya che ane sadaiva kuhAze e jANIne kayo gujarAtI sAttvika garva nahi anubhave, sagIrava unnatazira nahi bane ? AcArya hemacandra jagatasAhityane karelA bahuvidha pradAnanI pichAna A zlokamAMthI yathArthatayA maLI rahe che : kuluptaM vyAkaraNaM navaM viracitaM chando navaM dvayAzrayA 'laMkArau prathitau navau prakaTitau zrIyogazAstraM navam / tarkaH saMjanito navo jinavarAdInAM caritraM navam baddhaM yena na ke [na kena] vidhinA mohaH kRtau dUrataH // [jeNe navuM vyAkaraNa, navuM chanda zAstra, navuM dvayAzraya racyuM, navAM zAstro alaMkAra, yoga tathA tarkanAM racAM, jeNe jinavarAdinAM navAM caritro paNa racyAM che, teNe e granthasamRddhimAMnA jJAna karIne kaI kaI rIte ApaNo moha dUra karyo nathI ?] A zabdomAM kavi somaprabhasUrie AcAryazrInA je grantharAzinI sarvathA yogya prazaMsA karI che, te vipula vAya Ama aNuvidha che: 1. vyAkaraNa: savA lAkha zlokanuM siddhahema. AmAM prAkRta tathA apabhraMzanAM udAharaNa paNa che.

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201H zrI mahAvIra jaina vidyAlaya suvarNamahotsava vanya 2. koSa: (1) amarakoSa para AdhArita abhidhAnacintAmaNi (2) anekArthasaMgraha vanaspativiSayaka nighaMTu zikSA (3) dezInAmamAlA : prAkRta, sabhAdhya. 3. piMgalA: saMskRta, prAkRta tathA apabhraMzanA chando viSenuM saTIka chandoDanuzAsana. 4. kAvyazAstra: "alaMkAracUDAmaNi" ane "viveka" nAmanI TIkAo sahitanuM, mammaTAcAryAdi AlaMkArikonA granthonA AdhAra para racAyaluM kAvyAnuzAsana. 5. tarkazAstrano grantha nAme pramANumImAMsA. 6. mahAkAvya: dvayAzraya ane kumArapAlacarita. A anukrame 20 tathA 8 sarganAM be saMskRta-prAkRta ItihAsakAvyo che. baMnemAM vyAkaraNanA niyamo paNa samAvyA che. 7. caritragrastha: (1) triSachIzalAkApurUSacarita. enA 32,000 zlokomAM 63 jaina narottamonI caritragAthA che. (2) pariziSTaparvamAM sADAtraNa hajAra zlokonuM A che. (3) mahAvIracarita. 8. prakIrNa: yogazAstra tathA stotro. hemacandrAcAryano samaya yogya rIte ja hemayuga kahevAyo che. jene devacandra sarakhA kavi paMDita vidyArUpI samakanA manthanArtha prayojavAnA mandaragiri " kahyA che tenI pratyakSaparokSa preraNAthI gujarAtamAM sane 110 thI 1173nA Azare sAta dazakA daramyAna vividha prakAranAM kaviratno nIpajyAM ane jhaLakayAM. temanA nAmathI yuga oLakhAya enAthI vadhu svAbhAvika bIjuM zuM hoya A viSayamAM ? e samayagALA daramyAna 1130mAM siddharAje mALavA jItyuM hatuM. e yAdagAra vijayanA avasara sudhImAM to pATaNa mahAna vidyAdhAma banI cUkyuM hatuM. e Akho solaMkIyuga ja evo yazojajavala hato ke tyAre "gujarAtanA sarvAgINa parAkramamAM tema enA vidyAkIya puruSArthamAM moTI bharatI AvI hatI". (DaoN. bho. je. sAMDesarA) e hemayagamAM AcAryazrInA je zAradopAsaka ziSyo thayA temAM rAmacandrasUri emanA paTadhara che. A kavi jayasiMha siddharAja sarakhA vidyA premI rAjavInA taraphathI "kavi-kaTAramallanuM biruda pAmyA hatA. temaNe potAne (je soe so have to maLatA nathI tenA) "prabandha zatakartA" tathA zabda, nyAya ne kAvyanA "vivedI" kahyA che. e mAtra sAdIsIdhI hakIkatanuM kathana che. A sUrijIe bIjA hemaziSya guNacandragaNinI sAthe maLIne, dvAdaza-prakArI rUpakonuM Akalana jemAM karAvyuM che te nATyadarpaNa ane ema ja kaviye racela chavAdidravyo viSenuM kalyAlaMkAra e temanI mukhya kRtio che. temanI AgavI racanAomAM agratama A be che: kaumudI-mitrANaMda tathA navavilAsa. AmAMnuM paheluM nATaka dazAMkI che. bIjuM saptAMkI. pahelAmAM nAma-sUcita baMne pAtronI kautukarAgI kathA che ane bIjAmAM naLarAjAnuM caritra kathAnaka tarIke svIkArAyuM che. anya ziSyomAM sauthI adhika gaNanApAtra A traNa che: "anekArtha keravAkara-kaumudI'kAra mahendrasUri; kumAravihAra' e prazastikAvyo racanAra vardhamAnagaNi ane candralekhAvijaya" nAme prakaraNa-racanAno kartA devacandra. lekhanA A khaMDakanA ane jaina sAhityano saMkSipta itihAsa tathA bIjA mUlyavAna AkarasabhyonA ArUDha saMzodhaka sva. mohanalAla dai dezAInAM mayuga viSenAM sAragarbha vAkyo utArIzuM: TUMkamAM e jaina zAsana mATe, vAsumaya mATe, ati vaibhava pratApa ane vijayathI dedIpyamAna hato. tenI asara samagra gujarAtanA para aneka rIte smaraNamAM rahe tevI thaI che. hemacaMdranA nAma pramANe teno yuga paNa hemamaya-suvarNamaya hato ane cirakAla sudhI teno prabhAva raheze. (pR0 326) S CI 1 2

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madhyakAlIna gujarAtanA mukhya jaina sAhityakAroH 207 A lekhamAM have je sAhityakAro tathA emanI kRtiono paricaya apAze te IsavI dasamI tema ja pachInA saikAonA lekhako, bahudhA padyanA to koIka gadyanA che. temaNe apabhraMzamAM UgatI ("jUnI') gujarAtImAM ane tyAra pachInA keTalAka sekAthI arvAcIna gujarAtImAM sAhityasarjana ke zAstraracanA karI che. sAhityanA prakAro temaNe kheDyA e kayA hatA? Ano javAba Ama kahIne apAya ke dharmakathA ne phAgu, rAsAne prabandha, keTalAka mukAbale gauNa padyaprakAro; evI sevA temanI mUlyavAna sAhityanA rUpe che. apabhraMzamAM gaNanApAtra kRtio mukhyatve ATalI che : svayaMbhUdevakRta harivaMza tathA paumacariya (pAcaritra, rAmakathA jaina dRSTie), jenuM granthapUra 13,000 zloka che te mahApurANa, puSpadantakRtaM; bhavisyata-kahA, dhanapAlakata; ane yogIndradevanI A be : 105 dohAno yogasAra tathA paramAtmaprakAza. Arya saMskRtinI jaina zAkhAe gujarAtI bhASAne karelA pradAnanA kaviomAM zAlibhadra tathA somasundarathI, ane lAvaNyasamaya AdithI mAMDI saMkhyAbaMdha samartha sAhityasAdhako che. emAMnA mukhyatamanI laMbANabhaye ochI-adhUrI paNa nirupayogI nahi evI pichAna have karAvIzuM. kavi zAlibhadrasUri vastupAla-tejapAlanA samayamAM thayA. temanuM 203 kaDInuM kAvya "bharatezvarabAhubalirAsa' nAmanuM che. vIrarasapradhAna ojasvanta e kAvyamAM RSabhadevajInA putra bharata ane bAhubali vacce pitAnA rAjya mATe thayelA vigrahanuM varNana karAyuM che. e kAvya IsavI 1185mAM racAyuM hatuM. e seko bAramo. teramA tathA caudamA IsavIsana daramyAna racAyelI nIce lakhI sAta padya ke gadyanI kRtio noMdhapAtra che. 1. mahendrasUrinuM nAyakanA guNasaMkIrtanAtmaka jaMbusami-caritra (1210). 2. vastupAlanA dharmAcArya vijayasenasUrikRta suvarNana-maya madhura kAvya revantagirirAso (Azare 1231). 3. vinayasundaranI sundara kemake alaMkArAtmaka, (Azare) 1269nA varSanI racanA nAme neminAtha. - catupadikA. A gujarAtImAM lagabhaga paheluM ja bAramAsI kAvya che. 4. aMbadevasUrino samarAsa (1315). AmAM e samayanA mahAna saMghapati samarasiMhanuM caritranirUpaNa rUDI rIte karyuM che. pa. taruNaprabhasUri (1355) sarvaprathama gUrjara gadyakAra che. temanA pratikramaNabAlAvabodhamAMnI kathAonuM gadya lAlityamaya che, ojasvI che ane e ubhaya guNe karIne managama che. 6. gautamasvAmI rAsa (1356) khaMbhAtamAM kavi vinayaprabhano celo che. emAM ApaNe e kAvyanA nAyaka je gaNadhara gautama, temanA aneka sadguNonA varNana nimitte kavie karelAM prakRtinAM ramya varNano, gujarAtImAM pahelAM ja, vAMcIe chIe. kalamaMDana (1994) paNa gadyakAra hatA. temano vyAkaraNagrantha mugdhAvabodhaauktika vikhyAta che. e bALakone bhASA zIkhavavAnA pustakamAM samajUtI Apato bhAga che. e tyAranA sAdA gujarAtImAM lakhAyo che.

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208 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha somasundara (1374-1446), jayazekhara (vidyamAna Azare 1406mAM) ane bhANijyasundara (1422). A dareke padya vA gadyanuM vAhana vAparIne rasabhara sAhitya UgatI gujarAtInA udayamAM smaraNIya bhAga bharyo che. e pramANamAMnA pahelAnA racelA neminAthanavArasa-phAgamAMnuM vasantavarNana manohara che. e rasika paMDitano A phAga traNa khaMDamAM bhAvikajanonA manaraMjanArtha thayelI ciraMjIva racanA che. - jayazekharanI saMskRta padyakRti je prabaMdhacintAmaNi, tene jANe navasarjana samI rasa-raMgavatI pote e ja nAme gujarAtI zrotAone sugama karI che enuM apara nAma che tribhuvanadIpakaprabandha. dhanakanakasamRddha, pRthvIpI(prasiddha, atyanta ramaNIya, salokaspRhaNIya : lakSamIlIlAnivAsa, sarasavatItaNau AvAsa janitadurjanakSobha, sajajanotpAditazobha... A gaghanamUnA mANikyasundaranA paMcaullAsI pRthvIcandracaritramAMthI che. e pahelI savistara gadyAtmaka dharmakathA che. kartAe pote ja ene ApeluM bIjuM nAma vAgvilAsa che. e nAma, saheje samajAze ke, emAMnA lolavilola antaryamakavALA laye karIne sArtha bane che. RtukAvyonA jaina kavionI kRtio yAda karIne ja saMtoSa mAnavo paDaze. Azare 126mAM vidyamAna vinayacandranI sArka racanA neminAtha catuSadikAnI kharI khUbI e vAMcyuM ja samajAve tevI che. evI ja rasIlI racanA nAme siriyUlibhadraphAgu che. jinapadmasUrinI (1316-44) e racanA dharmalakSI to paNa saMsAracitra tarIke suvAcya che. vidyamAna Azare 1337-49 mAM, e rAjazekharanA kAvya nImanAtha phAgumAM vasantakhelananuM sUcana che. enAM varNano tyAre pracalita rUDha zailInAM to paNa kharA kavitvanI camakavALAM che. zatako 15mA-1bhAnA ApaNA viSayanA sauthI agrima kavio hatA suprasiddha vimala- prabaMdhakAra lAvaNyasamaya (janma 1465mAM), 'mAdhavakAkuMDalArAsa' e 156 0nA arasAmAM thayA te kuzalAbhanuM kautukarAgI zailInuM kAvyaratna che. 156thI 1620 daramyAna vidyamAna hovA saMbhava che te nayasuMdare sukumAra bhAvo ne zabdalAlityavALI A be (chamAMnI mukhya) racanAo vaDe sAhityasamRddhimAM vRddhi karI che: rUpacaMdakuMvararAsa tathA naladamayantIrAsa. evI ja vRddhi ApaNA sAhityamAM abhutarasika ne bahubhASI kahevAya tevo prakhyAta zIlavatIrAsa (1994) racIne sukavi nemivijaye karI che. A lekha dhAryA karatAM lAMbo thayo, tethI ativistArabhaye, IsavI sattaramA zatakanI AkharanA uparyukta kavi nemivijayathI ja viramavuM paDe che. A UNapa mATe AzA che ke vAcako lekhakane kSamApanAno adhikArI gaNaze. saMdarbhasUciH jaina sAhityano saMkSipta ItihAsa (mo. dara 1 ItihAsa (mo. 60 dezAI); gujarAta eNnDa ITasa liTarecara (ka. mA. munazI); solaMkIyuganI zrI ane saMskRti (bho. je. sAMDesarA); gujarAtI sAhityanI rUparekhA (vika vaidya)

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"pArasIka prakAza nAmanA phArasI bhASAnA zabdakozano ane te ja nAmanA phArasI bhASAnA vyAkaraNano paricaya becaradAsa jIvarAja dozI A nAnA nibaMdhamAM pArasIka prakAza" nAmanA phArasI-pArasI-bhASAnA eka zabdakozano tathA te ja nAmanA phArasI bhASAnA vyAkaraNano paricaya karAvavAno che. kozakRtino preraka akabara bAdazAha che ane kozana kartA vihArI kRSNadAsa mizra nAme koI brAhmaNa pati che. kozanA prAraMbhamAM ke aMtamAM kozakAre potAnA nAmollekha sivAya koI vizeSa paricaya Apela nathI. graMthakAra zarUAtamAM ja jenI upAsanA akabara karato hato te sUryanI stuti kare che ane akabara bAdazAhanI sabhAnA prAjJa paMDitone pramoda ApanAro evo A koza banAve che ema jaNAve che. zrIsUryAya namo vidhAya vidhivat sudhA (dhyA)ya cittaM ravI, divyAnAmiva pArasIkavacasAM kurve prakAzaM navam / samrAT zAha jalAladIndrasadasi prAjJapramodapradam, bAhyadhvAntamivApahantu paThitAM (paiThatA) pUSA''tarasthaM (pA''ntarasthaM) tmH||1|| akabaranuM nAma jalAluddIna che. tenuM saMskRta DhoLavALuM nAma "gasTandra' ema kozakAre kalpela che. 1 "sudhA' padane lIdhe dobhaMga jevuM lAge che. sudhAya eTale sabhya pravA-sArI rIte dharIne-ravimAM cittane sthira karIne--ravinuM sArI rIte dhyAna karIne. 2 ( ) AvA nizAnamAM mukelo pATha lekhake kapila che. su0 gra0 14

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210 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha khIjA ane trIjA padyamAM graMthakAra akabarazAhane 'brahma 'sAthe sarakhAve che. tathA gopAlasuta zrIkRSNa vibhu sAthe paNa sarakhAvatAM akabarazAhane gobrAhmaNapratipAlakarUpe varNave che ane kahe che ke je yavana vaMza, gAya ane viprono sadA abhibhava ja karato Avela che te ja vaMzamAM A akabarazAha gobrAhmaNanA pratipAlaka rUpe janmela che, e vizeSa AzraryakArI ghaTanA che. ,, pAMcamA zlokamAM " vidhIyate svoSArtham " ema kahIne prastuta koza temaNe potAnA khodha mATe nirmala che ema sUcave che. ane sAthe jaNAve che ke saMskRtanA zabdo ApIne tenA samAnArthaka keTalAka pArasIka--phArasI--zabdono A saMgraha che. je loko phArasI bhASAnA samudramAM avagAhana karavA icchatA hoya tevA lokone dhyAnamAM rAkhIne kRSNadAsa A kozarUpa nAnI hoDIne race che ema chaThThA zlokamAM kahe che ane sAtamA zlokamAM ema jaNAve che ke-- " pote phArasI zAstrone bhaNela nathI, mAtra sAMbhaLI sAMbhaLIne ja A koza racela che tethI A racanAmAM je kAMI nyUnatA vA vadhAre paDatuM AvI gayuM hoya tene phArasI vidvAno daragujara karaze evI namra vinaMti che. '' saMskRta bhASAnA atiprAcIna ane prasiddha amarakozamAM zabdone batAvavA prathama kAMDamAM jema svargavarga, vyomavarga, digvarga, kAlavarga, nATyavarga, pAtAlabhogivarga, narakavarga, vArivarga Ama vargone yojelA che tathA bIjA kAMDamAM manuSyavarga, brahmavarga, kSatriyavarga, vaizyavarga, zUdravarga vagere aneka vargone pADelA che ane cheDe trIjA kAMDamAM prathama vizeSyanidmavarga pachI nAnArthavarga yojela che tema kharAkhara kramane anusarIne graMthakAra kRSNadAse A phArasI kozamAM prathama svargavarga, vyomavarga, digdarga, kAlavarga, nATyavarga, pAtAlavarga, vArivarga, manuSyavarga, kSatriyavarga, vaizyavarga, kSudravarga (dravarga) vizeSyaniAvarga tathA nAnArthavarga vargo yojelA che. A kozamAM kAMDono vibhAga nathI, mAtra vargono vibhAga che. svargavargano prAraMbha sUrya' zabdathI karela che. zrIsUrya ratta AsAva: " (oja 8) sUrya mATe 'sAya'zabda pArasIka-phArasI--bhASAmAM che. cAlu phArasI bhASAmAM 'ajJAna' zabda pracalita che. A pachI " abtara:su parI sevA " (zno 11) eTale apsarA mATe vI. Atazastu bhaved vaho '" eTale agni mATe mAtA-gatiza saMskRta hutAza. " jovAcaH(loTAya ) sthAt mezvara: ' (oja 9) paramezvara mATe jovAya--ghudrA AvA zabdo svargavargamAM 19 zloka sudhI Avela che. cheDAnA ogaNIsamA zlokamAM " zIte saramA mavet mA jUlmamAtra pratitaH'....arthAt zIta eTale saramA-sA ane uSNa eTale garamA-vAM. vyomavargano AraMbha '" mAmAnuM vyomani prottam ''(kSyorja 20)thI thAya che. mAsmAna eTale vyoma AkAza. kAlavarganA prAraMbhamAM " saMvatsareSu sAru racAt ye cAt cAmati: ' / sAja eTale varasa ane pralayakALa eTale zyAmati-jiyAmata. 3 kozanI pothImAM jevA phArasI zabdo ApelA che tevA ja ahIM noMdhelA che. prathama kozano zabda, pachI phArasIno zuddha zabda batAvela che. A banne zabdo nAgarI akSaramAM mukelA che, gujarAta yunivarsiTInA phArasInA pradhAna adhyApaka zrI choTure nAyake phArasInA zuddha zabdo batAvelA che te mATe lekhaka temano AbhArI che. *

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pArasIka prakAza' nAmane phArasI bhASAnA zabdakoza ane vyAkaraNa paricayaH ra11 nAyavarNabhA "nagAraha paTahe, bheryA naphIraH parikIrtitaH" (zloka 44) "hosa arthamA nagAraha-nakkArahanagAra sane bhUgaNa-merI arthamAM naphIra." sArAMta "iklAsastu bhavet snehe" (zloka 50) ne-iklAsa-ekhalAsa. "ArayU syAt manorathe" (zloka 50)-manoratha-ArayU. "bArIkastu bhavet sUkSme" (zloka 48) sakSama-bArIka. "vaire syAt duzmanIti ca" (zloka 48) vaira-duzmanI. "mehara syAt karuNAyAm" (zloka 45) 429mehara-mehara vagere mane zo nAyavargabhA yApesA che. A pachI pAtAla vargamAM "asphalaH syAca pAtAle" (zloka 54) pAtANa-asphala. " narake dojakaM bhavet " (zloka 56) na24-dojaka-doz2akha. "nArakeSu ca dojakI" (zloka 56) nA24-doz2akhI. " alamastu bhavet duHkhe" (zloka 57) du:5-alama. " rAhataH sukha ucyate" (zloka 57) su5-rAhata. kozakAre narakavargane pAtAlavargamAM bheLavI dIdhela che, tyAre amarakozamAM e banne vargo ra ra cha. 2 // pachI pArivarga--- " dariyA syAt samudreSu" (zloka 57) samudra-dariyA-hariyo. "maujastu taraGge" (zloka 58) taraM-mauja-samudranAM bhoga. "kUle kinAraH" (zloka 58) --kinAro-kinArah. "Ava syAt apsu" (zloka 58) aab-paa9|-(sNrkRt) 255. " haudastu puSkariNyAm" (zloka 63) purie-hauda-hauja. vArivarga pachI manuSyavarga "jamIn bhUmau" (zloka 65) bhUmi-jamIn. " nagare zaharaH" (zloka 75) n||2-shhr-shhr. "pattena gaMja" (zloka 75) pattana-pATa-gaMja-2 vagere. "deze vilAyataH" (zloka 78) deza-vilAyata. " haramaH bhAginIstrISu, dharmapatnyAM tu aurati" (zloka 83) mI2-sadhyArI strI-harama, dharmapatnI-aurati-aurata. " phAhizaH vezyAyAm " (zloka 84) vezyA-phAhiza-fAhiza. "kuTTinyAM dalAlyaha" (zloka 84) dalAlyaha-dalAlaha-TI strI-sA strI. "vRddha bhavet pIraH" (zloka 94) 16-pIra. "behuso mUrchite" (zloka 100) bhUchita-behusa-behoza. "hukkaha syAt sampuTe" (zloka 116) saMpuTa-hukkaha-hUka-paTana. "Ayanaha darpaNe tu" (zloka 116) 6-Ayanaha-Ayinaha-mAyanA sema anene zo ApelA che.

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212 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava cI kozakAre brahmavarga ane kSatriyavarga ema be judA varga kya jaNAtA nathI paNa kSatriyavargamAM bane samAvelA lAge che; athavA pothI lakhanAra mathALuM lakhavuM cUkI gayo hoya. "dAnismaMdastu paNDite" (zloka 117) paMDita-dAnismaMda-dAnizamaMda. "mbulAna AcAryaH" (zloka 117) mAyArya-mbulAna-mullA. "ASoMda upAdhyAye" (zloka 117) upAdhyAya-ASoMda-AkhoMda-AkhUda. "zAgirdaH ziSyasaMjJe" (zloka 118) ziSya-zAgirda. "sabhAyAM majlisaH" (zloka 119) sabhA-majlisa-majalisa. "mantrapAThe phAtehaha" (zloka 120) bhaMtrAI-phAtehaha-phAtihaha. "kalimA mUlamantre" (zloka 119) bhUsamaMtra-kalimA-kalimaha-kalamo. "abhyutthAne ca tAjImaH" (zloka 121) A62 bhATa janA yag-tAjIma-tAaz2Ima. "khAmoSI mauna ucyate" (zloka 122) bhauna-khAmoSI. "atikrame jiAdatI syAt" (zloka 123) matibha-maNAra-jiAdatI-jiyAdatI. "molhidaH syAt tu pAkhaNDe" (zloka 126) pAyaMDa-mata-molhida-mulhida. "yatau tu daravezaH syAt" (zloka 126) yati-daraveza. "nyAjabaMdI abhivAdane" (zloka 124) abhivAhana-nyAjabaMdI. "dRSTAnte tu dalelI syAt" (zloka 124) dRSTAMta-dalelI-dalIla. "AmiLaH tApase bhavet" (zloka 125) tApasa-Amila-Alema. (malI AlimaH 54 khovo A vargamAM zabdonA vibhAga aMge vicAratAM jaNAya che ke 128 zloka sudhI brahmavarga cAle che ane pachI "pAtazAha" zabdanI zarUAta thatAM 12mA zlokathI kSatriyavargano prAraMbha thAya che. brahmavarganA chedasA dobhA 'guru' arthano 'vosta' za5-6 visa cha. kSatriyavargano prAraMbha- " pAtazAhastu nRpe proktaH sultAnastu tato'dhike / zAhAnzAhI nRpAdhIze vajIro mantriNi smRtaH // " (zloka 129) 1 arabI tathA phArasI zabdone saMskRta tathA prAkRtano DhoLa caDAvavAnI rIta ghaNA junA vakhatathI pracalita che. pANinIya vyAkaraNamAM tathA mahAbhAratamAM ane amarakoza vagere kozomAM paNa enA DhoLa caDAvelA zabdo upalabdha che. saMskRta tathA prAkRta DhoLa arabI ke phArasI zabda 1 turuSka vanAyuja-vanAyuje jAtAH vanAyujAH (sahI vanAyuja' zodha ||2sii zarnu saMrakRta rUpAMtara che.) 2 pArasIka (24DI pArasIka 20 o-hAya ||22sii'phArasI zabdanuM saMta rUpAMtara che.) 3 sAkhi zAha 4 sAkhAnusAkhi zAhanzAhI 5 sAhANusAhi (AkRta)

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'pArasIka prakAza' nAmanA phArasI bhASAnA zabdakozano ane vyAkaraNano paricaya : 213 nRpa-rAjA-vAtazAha-pAvAgaetrAsAda. tethI moTo sutAna. zAAAAdI-rAjAono rAjA- rAdenarAdi. maMtrIvanI. A pachI kSatriya vargamAM ja Ave che <6 'ron mitre '' (kSo 239) mitra-Tosta. dhaNA yavanono je prabhu-svAmI--tene vALa-vAna-kahevAya ane navAva nauvAtra paNa tene ja gaNAya tathA je yavana uttama hoya tene maoNma kahevAya--vartamAnamAM jene miyAM kahe che. tathA---- H 'bahUnAM yavanAnAM yaH prabhuH SANaH sa kathyate / vAstu sa evokto mIA syAt yavanottame || " (zloka 132) * yaH sarvaguNasampannaH sarvazAstrArthakovidaH / jJAnopadeSTA sarveSAM sa nAha hataH smRtaH || (zloka 133) je sarvaguNasampanna che, sarvazAstronA arthamAM kuzaLa che, ane sarvane jJAnano upadezaka che tene haz2arata * kahevAya. ahIM mULa zlokamAM ' sa nAda dUta'zabda batAvelo che te uparathI spaSTa artha samajAto nathI. kAMI azuddha hoya ema jaNAya che. ahIM A vargamAM AvA anekAneka zabdo batAvelA che. have pachI vaizyavarga : vAyu nAnA bhaveyuste ye vyApAraparA narAH / saudA tatkarmaNi proktA bakkAlaH syAt vaNigjane || (zloka 160 ) aneka jAtanA vyavahAra karanArA lokone mATe vAyuM. vyApAra-vyavahAra-sauyA. vANiyA cAha--dhAja. AAvikA-vartana--rona. khetI--riyata (zloka 161) kuzIdaka--vyAja-rna (zrloka 162) ghauM-garda--oNna-(zloka 164) caNA namudra navuta tala-yuniT-vuMniva-(zloka 165) kokAM--bhUMsu-kurA pUsta sUdda-rasoyodhAvavI vAva|--(zrloka 166) bhASAmAM 'khakharcI' zabda jANIto che eTale ' vAcavI ' pADane badale nAnI~ pATha saMbhavI zake. culo--agavAna (zrloka 167) dega eTale degaDo, jenA upara degaDo caDAvAya te degadAna. "ye syustatra ca sAmantAste sAkhaya iti smRtAH / teSAM tu nRpatiH sAkhAnusAkhiriti ca zrutaH " // jemake; " vA~ vu'' 4 / 2 / 20 / ityAdi sUtro. (jinadevakRta kAlaka kathA) pANinIya byAkaraNamAM varNa (hAla bannau) vagere keTalAka zabdo nadI, parvata, gAma vA nagara vagerenA vAcaka tarIke mULasUtromAM nirdezela che te badhA laukika zabdone pANinie saMskRtano DhoLa caDAvela che,

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214 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thaW thALI-A kuMbha-ghaDI-7, 6-go-(zloka 168) suMTha-gaMgavI4-(zloka 170)-gaMgara cAlu zabda che. lavaNanama -(loka 171) sAkaramaMDa-rasa-so-(zloka 174)-ravo cAlu zabda che. mAkhaNa-maka-majja. tRpti-sera-(zloka 176) tanu-zarIra-vana-(zloka 190) zloka 200thI pachInA zlokomAM have su-zavargano AraMbha mAlAkAra-mALI-vAvAna vaNanAro-vAraMThTha-vAdraDha sthapati-meyamAra tuNanAro-TarkI raMgAjIva-raMgAro-. camAra-Rona-fo. lUhAra-mAThuM. sonI-nA-narara tAMbAnuM kAma karanAra-misara. nApita-haMgAma. ba8I-sutAra-kuvo - rAra. rajaka-dhobI-gAra-gu. zauDaka-svAra. jAdugara-vAnI. gAyana karanAra-caM. vAje vagADanAra-sALaM. Ama 211 zloka sudhImAM dravarga pUro thAya che. A pachI 248 zloka sudhImAM paracuraNa zabdo AvelA che. amarakozamAM A mATe "saMkIrNavarga" nAma che. mahAzaya-vuMjhu-guMga (zloka 212). suhRdaya-vihyAvara. nipuNa-rAnA. mahAudyoga karanAra-tara . AyumAna--352-3maDhavA. durmanIra. khAta-prasiddha-marAdUra. prabhu-sAhia.

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* pArasIka prakAza' nAmanA phArasI bhASAnA zabdakozano ane vyAkaraNano paricayaH 215 samRddha-mAtrAvAnuM. vyasanamagna-mAriAja-aArA--Asakta. vyAkula-Ana. daLadI-no muzi . suMdara-mAvva-mahUva. adhama-vaDha. modya-nakAmuM-vetha6. mukhya-zrutikAra-UAma-kuMnAma. athavA nimAjanA kAryamAM agresara-zmAna-kuMnAma. 248mA zloka pachInA nava zlokomAM keTalAka vizeSyanigha zabdo tathA anekArthI zabdo jaNAvelA che. nAnArthI zabdo zAvatu vRkSAvAyAm para zra pratitaH" (loka 251) 1 sAva eTale vRkSanI zAkhA 2 pazunuM ziMgaDuM "nA aite tajo su-savizeSayoH (zloka 251) 1 pheraMga-4 2 -eka deza-phiraMgIno mulaka. samara TI 2 vatte ra" (zloka 256) 1 camara-kaTi-keDa. 2 ma-caMdra A rIte A Akho koza 257 zlokomAM pUro thAya che. AraMbhathI te aMta sudhInA A tenA kloka naMbaro saLaga che. vacce naMbara lakhavAmAM pothIlekhakanI bhUla lAge che. eTale zloko kula 257 nahi paNa 255 che. koza pUro thatAM pupikAmAM lakheluM che ke zuti zrImahIzrImannavarAti vihArI chAtrAmapravRtti varasIjhavA rIkvArtha A pachI A graMthakAre ja pArasIprakAza nAmathI pArasI-phArasI-bhASAnuM vyAkaraNa racela che. 1 prastuta koza jevo ja koI bIje pArasIka koza hovo joIe, enuM pramANa maLI Avela che. caudamA sikAmAM zrIjinaprabhasUri nAme eka jainAcArya thayela che. dilhInA bAdazAha alAudInanI gAdIe AvelA mahamadazAha pAdazAhanI sAthe temane vizeSa paricaya hato. teramo dharmaranehanI vRddhi mATe e pAdazAhanA darabAramAM jatA AvatA. temaNe phArasI bhASAmAM ja zrI RSabhadeva bhagavAnanuM eka stavana banAvela che. tenI pahelI kaDI A che: " alAlAhi turA haM kImvaru sahiyAnu tuM marA khvAda / dunIyaka samedAnai busmArai budha cirA na mhaM / / " A stavananI vyAkhyAmAM pArasI kozanAM avataraNa Avela che, te A pramANe che : "Alovo masuAradu khatamathurbhaktiH surAdgAyanaM nRtye sthAt sarjayazca yamu DhistA vADhA" ItyAdi.

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ma 216 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava prastha temAM saMskRtanI peThe nAmavibhakti, dhAtuvibhaktio tathA dhAtu vagere kalpIne temanI sAdhanA mATe sUtro ane vRtti tathA udAharaNa vagere savistara samajAvela che. sUtrono namUno-- pArasI seTuM che ? | gvazya cam / 2 / : phUH || traH se | 4 || caturazasya vahAra vAra / 1 / ItyAdi aneka sUtro racelAM che. vyAkaraNanA A prathama prakaraNanuM nAma saMkhyAzabdanirNaya che. bIjA prakaraNanuM nAma zabdaprakaraNa che. temAM nAmanAM rUpo saMskRtanI Dhabe sAdhI batAvelAM che. sUtro-- udAharaNa-- selpha ne ? . vaso dRA || 2 | mahA dvitIrAyA pachI che rU . mardarA tRtIyA vA | 4 | vAmarda Ama aneka sUtro racIne phArasI bhASAnAM nAmanAM rUpone udAharaNa sAthe sAdhI batAvela che, A pachI A prakaraNamAM chellI hakIkata sarvAdi nAmone lagatI Apela che. A pachI avyayonuM prakaraNa batAvela che. avyayonAM sUtro- hamarA sahArthe / sahI satyArthe / hamI hamIn evArthe / ci kimarthe / bAda bAdaja pazcAdarthe / nimAja nitykrmnni| ganImata dharmapUrvakavastulAme / A rIte graMthakAre keTalAka adhika avyayono saMgraha karela che. A prakaraNa pUruM thayA pachI kAraka prakaraNa, samAsa prakaraNa, taddhita prakaraNa ane chelle AkhyAta prakaraNa Apela che. vyAkaraNanA A AkhA ya graMthamAM graMthakAra udAharaNomAM bIjAM bIjAM udAharaNo sAthe vAraMvAra akabara bAdazAhano ullekha karato rahe che. A uparathI jANI zakAya ema che ke bIje paNa koI pArasI koza jarUra hovo joIe. te vyAkhyAmAM bIja paNa avataraNa che. (juo jaina sAhitya saMzodhaka khaMDa 3 aMka 1 pR0 26thI.) A stavananI pAMcamI kaDInI vyAkhyAmAM arabI samAna zabdane rUpa lakhela che ane saMskRtadhAtu "da" uparathI tenI vyutpatti batAvavAmAM Avela che rati-Tyunnati-jApa iti rad + + + mA + za = rama: A rIte arabI zabdane sarakRtano DhoLa caDAvavAmAM Avela che

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'pArasIka prakAza' nAmanA phArasI bhASAnA zabdakozano ane vyAkaraNano paricaya : 217 taSThita prakaraNamAM-- 1 zAhasya apatyaM zAhayAdah / ahIM apatya artha bhATe 'yAdah' pratyaya che. khAnasya apatyaM khAnayAdahU / azIlasya apatyaM azIlayAdah / azIla- asIla bheTale sIna, 'asala' he 'asIsa' zamho bhASAmA prayasita che. yA azzubhAM apatya arthano pratyaya pahelAM batAvela che. pachI jJAta arthavALo pratyaya 2 kAbule jAtaH arabe jAtaH cIne jAtaH prayukta artha sUcaka pratyaya-- 3 mahammadena prayukte mahammadI / bhAvapaNuM bodhaka pratyaya- musulamAnasya bhAvaH musulamAnI kAphirI / asti arthadyota 'stAn' pratyaya4 gulaM vidyate asya gulistAn / hindustAna bAgistAn / kacid ikArAgamaH / kAbulI / ArabI / cInI 1 idamartha sUyaH 'aN' pratyaya 4 akabarasya ayam akabarI / 'tat karoti' 2marthano aN pratyaya aNi pUrvasvarasya AkAraH madhyamasvarasya ikAro vaktavyaH ---- aNu ' lAgatAM pUrvanA svarano AkAra thAya che ane madhyama starane IkAra thAya che. adalaM karoti iti AdilaH / julumaM karoti jAlimaH / hukamaM karoti hAkimaH / ityAdi. Adila vagere prayogobhAM tat karoti marthano aN pratyaya che. A rIte tardhita prakaraNamAM aneka pratyayonuM vidhAna karela che. A prakaraNamAM aMte punAduM tavAna gunAhagAra - gAra pratyaya / 'samUha' arthato dAt pratyaya - yamAdAt vagere tat sAdhayati arthano 'gar' pratyaya--ya gar, sitamagara vagere tat vikrINAtimarthano 'pharoza' pratyayasabujI vikrINAti iti sabujIpharoza vagere. tat dhArayati arthano 'dAn' pratyaya--- nimakaM dhArayati nimakadAn, ayanakadAn vagere. tarAz pratyaya-saMgatarAza, butatarAza vagere. arthano cah pratyaya - siMdUka + cah = siMdUkacahU, degacah vagere.

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218 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha niMdA arthano "#' pratyaya- cana, riMdaprakarSa arthano "tA' pratyaya--3matina pher revatam tUvata', badatar vagere. A pachI AkhyAta prakaraNamAM kriyApadonAM rUpo saMskRtanI vibhakti dvArA Adezo karI karIne sAdhI batAvela che ane sAthe saMskRta dhAtuonA Adezo paNa batAvelA che. jemake iMTa aphera- mU 'dhAtuna rAve Adeza. sita pratyayano "me' Adeza. merAmati : Ama dareka kALanAM rUpo sAdhI batAvelAM che. man dhAtuno Tusta-hRstI-masti dRyarthaH | 3man dhAtuno bhUtakALamAM cUra-cUrva-mAsIta rUtyartha che 1 pac dhAtuno pejad-pujad. 2 dRz dhAtuno vInad-bInad. 3 6 dhAtuno ja . 4 kvath dhAtuno jozad. 5 ghaT dhAtuno sAjad. 1dA dhAtuno dihad. 7 kR dhAtuno kunad. A rIte saMskRtanA daza gaNanA aneka dhAtuonA judA judA Adezo batAvelA che ane Ama karIne A phArasI bhASA saMskRta bhASA dvArA janmI hoya evo AbhAsa karAvavAnA hetuthI graMthakAra A vyAkaraNa banAvavA prerAyA jaNAya che. jo ke phArasI bhASA saMskRta prAkRta bhASAo sAthe saMbaMdha jarUra rAkhe che. paNa te emAMthI janmI hoya te banavA joga nathI. A rIte A lekhamAM phArasI bhASAnA kozano ane vyAkaraNano TUMko paricaya Apela che. koza karatAM vyAkaraNano paricaya vadhAre vIgatathI Apavo joIe ema lAge che. paNa ema karavA jatAM lakhyuM che te karatAM bamaNuM aDhI gaNuM lakhavuM joIe ane evuM laMbANa arucikara thavA saMbhava che; mATe tema karyuM nathI. vaLI, koI bIje prasaMge e vize vigatathI lakhI zakavAno avakAza che ja. hAthamatano paricaya- hAthapratanAM kula pAnAM 28 che. vyAkaraNa bhAganA chellA pAnAmAM samAptisUcaka koI ullekha ke pupikA nathI ethI ema jaNAya che ke prata adhUrI che. pAnAM cAluM pAnAM karatAM vadhAre pahoLAM che, eka eka pAnAmAM 14-14 lITIo che. hAthaprata savAya che paNa azuddha che. ane vacce vacce korI jagyA paNa che eTale ema jaNAya che ke vacce vacce kAMI TI gayuM hoya. akSaro thoDA moTA che. graMthakAranA samaya vize khAsa lakhavAnI jarUra nathI. pote akabara bAdazAhanI preraNAthI A pravRtti karela che ema spaSTa jaNAve che eTale graMthakAra akabaranI sabhAna paMDita hoya e banavA joga che. kaTTara hiMduono evo Agraha hato ke na hetu cAvanAM mAgha prAH krapTa tainA arthAta "jIva jAya to bhale jAya paNa yAvanI bhASAne bhaNavI ja nahi" e Agrahane neve to mUkyo paNa brAhmaNa paMDitoe moniTu jevA upaniSado paNa racela che tathA prastuta phArasI bhASAnuM vyAkaraNa lakhavA paNa prayAsa karela che, ane zrIviSNunI sAthe sarakhAmaNI batAvIne akabaranI khUba stuti ane prazaMsA suddhAM karela che tenuM kAraNa gotavA javuM paDe tema nathI. hAthapratane upayogamAM levA devA mATe strI smAratIya saMskRti vidyAnaMtinA niyAmakano AbhArI chuM.

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nAsikya 5 chI vyaMjanA gAma ane sArUpya harivallabha cUnIlAla bhAyANI saMva bhAratIya-AryanI prAcIna bhUmikAnA ma+2 ane + 1 e vyaMjanayogo je parivartana pAmIne madhyama bhUmikAmAM AvyA che tenI viziSTatA e che ke temAM vacce bano Agama thayo che. Amra prA. aMba: guDha AMbo AjhAtaka : aMbADa : aMbADo tAmra: taMba : tAMbuM asta : aMba: AMbavuM, aMbAvuM *AcAmAnsa : AsaMbila : Akhela AblikAra : aMbiliA : AMbalI nAsikaya vyaMjana (na, ma, anusvAra) ane hakAranA saMyoganA parivartanamAM eka valaNa AvuM ja che. te anusAra na pachI dUnI, ma pachI bano ane anusvAra pachI m no Agama thAya che. paravata hakAranI sAthe bhaLI jatAM te anukrame dhU, bhe, ane ghu rUpe niSpanna thayA che. AmAM hu mULano hoya athavA to mAdhyamika parivartana prakriyA anusAra niSpanna thayelo hoya--eTale ke mULanA pUrvavartI chuM ke huM mAMthI nIpajelo ane vyatyayane pariNAme paravartI banelo hoya. udAharaNa : saM' cihunaH prA. ciMdha : guha cIMdhavuM saMsmarati : saMbhaI sAMbhare

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220 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha siMha : kuSmANDa : siMgha : siMga, saMga (mAnasiMga, abhesaMga) kuMbhaMDa : kaubhAMDa 3 A valaNa nAsiya vyaMjana ane r ke - saMyukta nahIM paNa nikaTanikaTa hoya tyAre paNa kvacita pravartye che. prAcIna bhUmikAmAM paNa AnuM udAharaNa che : vaidika sunara ' prasanna ' : saM. sundara, uparAMta saM. zAmali, prA. sili, gu. zImaLo. saM. zrRhannala : aSa. vihuMdala : guja vyaMDaLa. keTalAMka gujarAtI udAharaNo A valaNa amuka aMze prabaLa hovAnA dyotaka che. (AmAM paravartI dhvani r ke - sivAya kavacit t che) : saM cUrNa : prA. cunna vAnara : a50 vanara paMcadaza : parNa ratnA : * guja. cUMdaDI (hiMdI cunarI) : guja. vAMdara, vAMdaro paMdara pAMdaDuM rAnala, rAMdala pannarahu : putra :. *nna+la H guja. mInI, mInaDI, mIMdaDI uparAMta cAmaDuM, gAmaDuM, AmaLuMnA virodhe cAMkhaDuM, gAmaDuM, AMbaLuM, (Amalaka) evAM uccAraNano paNa ahIM nirdeza karI zakAya.4 4 nikaTavartI akSaronA nAsikaya vyaMjana ane hakAra vacce vyaMjanAgama thayAnAM paNa eka udAharaNa maLe che : abhijJAna : ahindANa : hiMdaNa : eMdhANa madanala : mahula : mIDhaNa, mIMDhoLa eMdhANamAM paravartI ni bal che. suratI uccAraNa baMdhe ( Page #252
nAsikstha pachI vyaMjanAgama ane sArUpya H 221 pa arvAcIna gujarAtI uccAraNamAM uparanA valaNathI sthULa daSTie viparIta kahI zakAya tevuM valaNa pravarte che. sAnunAsika svara pachIno madhyavartI alpaprANa dhoSa sparza (dhaNuMkharuM to kh) anunAsikanI asara nIce sArUpya pAmIne potAnA vargano nAsikaya sparza ane che. udAharaNo : amarAI (prA0 amarAI, saM. AmrarAji), zImaLo (prA. siMbali, saM. zAmala), kAmaThI-kAmaDI (prA. kaMmA), cImaTo (mULamAM cim-). uparAMta AMbaLuM-AmaLuM, AMbalI-AmalI, uMbaro-Umaro, kAMbaLo kAmaLo, tAMbaDI-tAmaDI, tuMbaDI-tUmaDI, kUMbhaDuM-pUmaDuM, lIMbaDo-lImaDo evI mAnya joDaNIo; tathA jAMkhaLI-jAmaLI, sAMbeluM-sAmeluM, lAMmaDo-lAmaDo, cAnakI (cAMda, caMdra), bInakI (bindu) sAnunAsika svara pachIno zabdAMta alpaprANa dhoSa sparza (khAsa karIne kh-s, tethI oche aMze krU, p ) nAsiya sparza ( ma, na, Nu ) banavAnuM valaNa vizeSe dharAve che. udAharaNo : karmo-kamalo (ka.) cUmavuM-cUmI (cUMkha-cuM) jhUmavuM, jhUmaNuM, jhummara (prA. huM jhuMmaNaga), jhumbuka bhUma (prA. kuMmA) lUma (lUma, lUkhI) sAma (sAMbeluM, saMkha, zastra) aDIkhama, malakhama (dego, khaMbha) DAmavuM (DAMbhaLuM, prA. DaMbhaNa) vAma (vAMbha) 7 A uparAMta rojanI lokavyavahAranI bhASAmAM prAdezika prayogo lekhe khANa(khAMDa), gANa (gAMDa), mANa (mAMDa), rANano (rAMDano), kanamULa (kaMdamULa), khanakhAraNe (baMdha bAraNe), canarA (caMdrA), vAnaro, pAnaDI, paeNnara, cUnaDI, vanarAvana, anarAdhAra, zinarI (zIdurI), gana (ke ghana, gaMdha), govanajI (goviMda) jevAM uccAraNa pracalita che. te paNa A valaNa aMge dizAsUcaka che.pa nAsikaya dhvaninA prabhAva nIce > Nu, o > Na, v > m (kaNabI, vANaMda, khamaNuM, gabharAmaNa vagere) e parivartanavalaNo upara varNavelA valaNa sAthe saMvAdI che. Tipa 1 carcelA parivartanono pUrvanirdeza, vicAraNA vagere mATe juo hemacaMdra, siddhahema, 8, 2/56, 1|264, 2250 2|74, 4|412; pizala, grAmAtaka, 25, 267; Tarnara, gujarAtI konolaoNji, phu 78, 84; narasiMharAva,

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222 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ca gujarAtI, leMgvaja eNnDa liTarecara, 1, 328-333, 471, 472 (bI); bhAyANI, vALyApAra, pR. 310, 325. sarakhAvo bloka (bhASAMtara, parAMjape), marAThI bhASacA vikAsa, huM 123. caMtanAgamavALA zabdono vicAra karatAM narasiMharAve prAkRta bhUmikAnAM udAharaNo noMdhyAM che, paNa temane ja vAraso gujarAtI vagerene maLyAnuM temanI samajamAM nathI AvyuM. A parivartanane samajAvatAM temAM temaNe svarabhAranI asarathI athavA pAchaLanA , ne kAraNe mULanA nAsikya vyaMjanano nAsikatha 6, vagere thayAnuM mAnyuM che, paNa emanuM pRthakkaraNa bhUla bhareluM che : temaNe pR. 472 (bI) upara Takelo mata ja sAco khulAso rajU kare che, duSita pRthakkaraNane kAraNe temaNe A valaNanAM udAharaNo sAthe mU> - e bhinna valaNanAM udAharaNo bheLavI dIdhAM che ane eka vairyanuM udAharaNa paNa (aDavANuM : aNuvANu hu) e sAthe mUkayuM che. 2 Tarnara, InDo-Aryana leMgvajija ka AcAmAmsa, AlA, kukamANaha, * cibu e zIrSakonI nIce juo. 3 anya prAkRta-apabhraMza udAharaNo : baMbha (brahma), baMbhaNa (brAhmaNa), giMbha (thIma), saMbha (glaeNma), kuMbhAra (kAra= kAzamIra), saMghAra (saMhA2), saMghu (zam), AsaMdhU (AzaM) vagere. e yAnamAM rAkhavAnuM che ke vadhu vyApaka valaNa to kazA Agama vinA nAsikaya ane hakAranA saMyogane bIjA saMyogonI jevo gaNavAnuM ane pachIthI hakArano dhaNuMkharuM lopa karavAnuM che. udAharaNo: UnuM (unDa, uNu), kAno (kanha, kRNa), pAnI (pahuva, prastava), pAnI (pahua, pAkirNa), nAnuM (lanDa, lakSaNa), ame (akhta, asma-), tame (tuha, Rtuma), masANa (masANa, mazAna) , dhIma (gilDa, grIma), vIsare (visaI, vismarati), narazI (narasaha, narasiMha) vagere. ja hiMdI tAMbA, baMda2, paMdraha vagere banajArI (ke laMbADI) huMdALamAM (=unALAmAM), marAThI tAMbe, AMbA, vAMdara, aMdharA, sAMga vagere. aMgrejI (keTalAka mULa to keTalAka kecamAMthI) fumble, grumble, humble, nimble, gander, gender, thunder vagere tathA grIka andros vagere AvA ja vyaMjanAgamanAM udAharaNo che. hiMdI amarAI, Ama, cUmanA, jhumanA, homa, mana, khAma, malakhama, geremAM A ja parivartanavyApAra che. sarakhAvo romAnI (Doba), aMgrejI zabdAnta - mb no ma (bomb, comb, dumb, thumb, tomb, womb, jamb, lamb, limb, vageremAM) tathA -ing nA Da (sing, ring, coming vageremAM) AvI ja prakriyA rajU kare che.

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gujarAtanuM lokajIvana maMjulAla 20 majamudAra gujarAtane mizra samAja madhyakAlIna gujarAtI samAja anekAneka jAti, varNa ane saMskAronA saMmizraNamAMthI astitvamAM * Avyo che, e hakIkata che. gujarAtanI bhUmi upara aneka prajAsamUhonAM saMmizraNa thayAM che; pariNAme, e saunAM svabhAvalakSaNa gujarAtI samAjamAM varatAvA lAgyAM che. prajAnAM paribhramaNoe gujarAtI samAjane ane tenA svabhAvane dhaDyo che, tethI ja gujarAtI prajAjanane, anubhavathI ghaDAIne namra ane vyavahArakuzala thatAM AvaDayuM che; tema ja A kAraNathI ja gujarAtImAM svaprAMtAbhimAna, bIjAne mukAbale, bahu maoNLuM rahevA pAmyuM che. dravyalakSI prajA gujarAtIo moTe bhAge dravyalakSI prajA che"--evuM AkSepAtmaka kathana cAlyuM Ave che; tenI sAthe e paNa yAda karavA jevuM che ke gujarAtanAM baMdaro upara ghaNIvAra paradezI hakUmata rahelI che, ane tene lIdhe gujarAtano AMtarapradeza julamI adhikArathI bacI paNa gayo che. mudrAvyApAramAM agresara gujarAtanA dravyalakSItvanI sArI chApa rASTra taMtra ane tenA kArabhAra upara paNa paDyA vagara rahI nathI. jema AjanA jamAnAmAM moTAM rASTrono vyavahAra zarAphI peDhIo, benko ane karAdhipatio upara nabhe che tema, gujarAtanAM rAjyono vyavahAra tenA moTA moTA vepArIo upara nabhato hato. madhyakAlIna gujarAtamAM vastupAla-tejapAla, zAMtidAsa jhaverI, tathA pezvAInA vakhatamAM pUnAmAM pahelI TaMkazALA calAvanAra gujarAtI dulabha zeTha, ane kaMpanI sarakAranA vakhatamAM suratathI muMbaImAM AvIne rahelA AtmArAma bhUkhaNa travADI vagere zarAkonI peDhIoe noMdhapAtra sevA bajAvI che.

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224 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava lokavArtA-vyApArI rAjAo gujarAtI lokavArtAnA sAhityamAM, vepArIone "rAjAo" tarIke oLakhAvelA che. temanA kumAro, vyApAramAM kamAyelI lakSmIthI bharapUra vahANa laIne paradezathI AvatA tyAre, rAjA paNa temanuM sanmAna karatA. ghaNIvAra rAjAnI kuMvarIne, vaizya pradhAnanA vyApArI putrane paraNAvavAmAM nAnama gaNAtI nahi. paradezI vyApArIo pratyeno vartAva gujarAta-saurASTranAM baMdaro sAthe vepAra karavA AvanAra paradezIo ane paradharmIo koIpaNa jAtanI harakata vagara potapotAno dharma tathA AcAra pALI zake te mATe, udArabhAve jogavAIo karI ApavAmAM AvatI hatI. mAMgaroLa tathA khaMbhAtanAM baMdaro upara musalamAno mATe majido paNa bAMdhI ApavAmAM AvI hatI, evI tenI noMdha maLI AvI che. dharmamata-sahiSNutA - gujarAtamAM dharmamata sahiSNutA solaMkI samayamAM pravartatI hovAnA nirNAyaka dAkhalA ItihAsamAMthI maLe che. agiAramA ane bAramA saikAmAM dakSiNamAM, zevarAjAo dvArA vaiSNavonI bhAre kanaDagata thaI hovAnA dAkhalA maLe che, paNa gujarAtamAM evA dAkhalA nathI. zaivadharma rA" maMDalike vaiSNava saMtakavi narasiMha mahetAne pajavyAno dAkhalo apavAda gaNavo joIe. alabatta, zvetAmbara ane digambara jaino vacce tathA brAhmaNa ane jeno vacce vAyuddho tathA parasparanI niMdA thayelI che kharI. paNa ethI AgaLa kaMI thayuM nathI. rAjAoe tathA maMtrIoe to sarvadharma pratye samabhAva rAkhelo che. pArasIone AvakAra eTaluM ja nahi, paNa I. sa. 936mAM musilama kanaDagatane lIdhe irAnathI dakSiNa gujarAtamAM bhAgI AvelA agnipUjaka pArasIone, gujarAtanA paDozI evA koMkaNanA zilAhAra rAjAe Azraya Apyo hato, ane e dakSiNa kAMThA para AvIne vaselA pArasIo gujarAtIo tarIke ja agiyAraso varSathI mAnabhera jIvI rahyA che. siddharAjanA samayamAM khaMbhAtanI masjidane A sUryapUjakoe kAphiro dvArA bALI mukAvI hatI. e daMgAmAM eMsI muslimo mAryA gayelA. AnI phariyAda siddharAja pAse pahoMcatAM, te rAjAe jAte tapAsa karI, vAta sAcI TharatAM, brAhmaNono tathA agnipUjakonA mukhya netAono yogya daMDa karyo ane prajApAlananI samabhAvabharI vyavasthA amalamAM mUkI. dhArmika samabhAva maMdira, masjido | vAghelA rAjyakALamAM maMtrIzvara vastupAla-tejapAle jaina ane brAhmaNadharmanAM pUjAsthAno UbhAM karyA hatAM. te sAthe masjido paNa baMdhAvI hatI ema temanA caritralekhako jaNAve che. kaccha-bhadrezvaranA jagaDuzAhe paNa masjido baMdhAvI hatI. paraMtu dhArmika samabhAvano sauthI sarasa dAkhalo to verAvaLanA saM. 1920nA lekhamAM che.- arjunadeva vAghelAnA mahAmAtya rANaka zrI mAladeva hatA tyAre, somanAthanA pAzupatAcArya gaDazrI paravIra ane tyAMnA AgevAna mahAjano pAsethI haramujha(irAnanuM horamajha)nA kAMThAnA amIra phakarUdInanA rAjyanA nAkhudA pIrojha, somanAthadevanA nagaranI bahAranA bhAgamAM eka masjida bAMdhavA mATe jamInano eka TukaDo, badhA hakako sAthe, kharIdI lIdho hato.

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gujarAtanuM lokajIvana H 25 jamInanA A TakA upara pIroe majida bAMdhI ane enAM dhapa, dIpa, tela, karAnapAka vagere mATe tathA cAlu durastI kharca mATe dhaulezvaradevInI mAlikInI, be mALane gharavALI eka moTI vADI, be hATa tathA eka ghANI kharIdI laI tenI upaja masjida mATe vAparavA ApI dIdhI. te uparAMta ziyApathI vahANavaTIonA utsava mATe amuka rakama TharAvI ApI, jeno vahIvaTa prabhAsapATaNanA muslimo kare, ane kAMI rakama vadhe to makkA ane madInA mokale. musalamAna vahANavaTIonI sAtheno hindu dharmAcAryono mITho saMbaMdha ahIM spaSTa jaNAya che. gaNarAjyanA avazeSa: mahAjananuM baLa | gujarAtamAM eka bIjI viziSTatA dhyAna kheMce tevI che. kauTilyanA arthazAstramAM noMdhyA pramANe, saurASTranI prajA vyApAra tathA zastro upara jIvanArI hatI. yAdavonAM vRSNi ane andhaka kulanA samayathI gaNarAjyo'nuM astitva pazcima hiMdamAM hatuM. dhIme dhIme sAmrAjyavAdanuM AkramaNa thavA lAgyuM ane mauyoM, kSatrapo, gupta vagerenA samayamAM gaNarAjyanuM rAjya gayuM chatAM eka saMgati "gaNa' tarIke vartavAnI samUhazakti, temanAmAMthI lupta thaI zakI nahi. tethI ja varNavAra, jAtivAra, pradezavAra, dharmavAra ane vyavasAyaparatve "mahAjano'nuM AMtarika rAjya, paraspara mATe eka ane abhedya rIte cAlyA ja karyuM. Aje paNa "mahAjana" ke "paMca"nuM baLa, rAjakIya sattAnI sarakhAmaNImAM, hajI abAdhita rahyuM che. sAMpratakALanuM paMcAyatI rAjaya' teno ja Acho paDyo che. jamInadAra ane garIba varga A daSTie, madhyakAlIna gujarAtamAM je samAjano koI paNa bhAga vadhAre prabhAvazALI ane kAryakSama tathA saMgaThita zaktivALo hoya to te AvAM madhyamavarganAM judAM judAM "mahAjano" che. hiMdanA bIjA prAMtomAM mukhyatve karIne Akho samAja be moTA vibhAgomAM vaheMcAyelo najare paDe che : eka moTo jamInadAra, saradAra ane bAbulokono dabadabAvALo varga : to bIjI tarapha drono varga-vividha sevA ApanArano vargaH eka tarapha amIrono varga, to bIjI tarapha phakIrano varga : eka cheDe bAbuono varga to bIje cheDe khAkhIono varga. baMgALamAM, rAjasthAnamAM tathA mahArASTramAM madhyamavarganuM sthAna A prakAranuM che. eTale ke banne samudAyonI dayA upara chavanAra tarIke ja zakonuM sthAna rahyuM che. gujarAtano madhyamavarga tyAre gujarAtano madhyamavarga svAzrayI che, ApakamAu che; garIba che chatAM svamAnI che. gujarAtamAM anekavAra rAyakrAMtio thavA chatAM, thoDA thoDA samayane aMtare, madhyamavarga pAcho potapotAne kAme lAgI jato. koNa rAjya kare che tenI temane bahu paravA paNa nahotI. mAtra temano vyApAra-rojagAra nibaMdhitapaNe cAlyA kare evI hakUmatane ja teo mahatva ApatA. mahAjananuM baLa eTaluM badhuM asarakAraka gaNAtuM ke rAjA paNa temanI AmanyA toDI zakato nahi. moTA virodha ane matabhedane prasaMge, nagaranuM mahAjana AkhI vasatinI hijaratanI dhamakI rAjAne ApI zakatuM, ane rAjAne paNa enI sattAnI maryAdAnuM bhAna karAvatuM. gujarAtamAM rAjAnuM sthAna ekarIte gAmano, nagarano ke pradezano rAjA paNa, prajAnA rakSaNa mATe ja nibhAvAto. prajAno rakSaNahAra tathA sAcA arthamAM "gau-brAhmaNa pratipAla" hovAthI ja e pUjya gaNA; chatAM prajAno to su0 gra. 15

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226 : zrI mahAvIra jaina vidyAlaya suvaNa mahotsava grantha e potAne sevaka' ja mAnato. lokazAhInAM mULa A prakAranI madhyakAlIna gujarAtanI samAjavyavasthAmAM joI zakAya che. tethI ja gujarAta-saurASTranA rAjyavyavahAramAM, tenA samAjajIvanamAM, tathA tenI saMskAritAmAM, "mahAjanamaMDaLo'e ane nagarazeTho e, agatyanuM sthAna sAcavyuM che. sAhityapoSaka madhyamavarga A prakArano khAdhepIdhe sukhI, saMskArI, saMyamI chatAM sAthe vilAsI, ane bhAtabhAtanA vyApAra dvArA prApta thatA vaibhavonI saMyamita upabhoga karanAro madhyamavarga ja sAhitya, saMgIta, kalA, zilpa, sthApatya ane dharmano poSaka hoya emAM Azcarya nathI. valabhIpuramAM mitrarAja dharasenanA rAjyakALamAM Azraya pAmelo "bhaddI kAvya" athavA "rAvaNavadha' racanAra bhaTTIkavi, zrImAla(bhinnamAla)mAM "zizupAlavadha " racanAra zrImAlI kavi mAgha, gurjara pratihAravaMzanA mahendrapAla tathA mahIpAlanA rAjyamAM sanmAnita kavi rAjazekhara, siddharAjakumArapALanA rAjayamAM sanmAnita "kalikAlasarvana" zrI hemacaMdrAcArya ane emanuM ziSyamaMDala, tathA aneka kAvya-nATakanA racanAra gurjarezvara purohita zrI somezvaradeva sivAya, bIjA koI sAhityakArone gujarAtamAM rAjyAzraya maLyAnuM jANavAmAM nathI. vastupAla-tejapAla jevA rAjyamaMtrIoe tathA evA bIjA zreSThIoe, senApatioe ane nagarapatioe ja, bhAratIya saMskRtinA saMskArone samAjanA nIcalA thara sudhI pahoMcatA karavAnI sevA gujarAtamAM upADI lIdhI hatI. kavi premAnaMdane naMdurabAranA desAI mahetA zaMkaradAse (atyArasudhI manAtuM hatuM tema naMdarabAranA ThAkore nahi) kavinA "AkhyAna-sAhitya ne khIlavavAmAM sArI Arthika anukULatA karI ApI hatI. zAmaLabhaTTane eka ThIka ThIka kahIe evA sAmAnya jamInadAra rakhIdAse, temanI padyavArtAone rasabhera sAMbhaLI, temane potAnA gAma siMhujamAM kAyama mATe vasAvyA hatA. kalApoSaka madhyamavarga sAhityamAM hatuM tevuM ja lalitakalAomAM khAsa karIne pothInAM citronI kalAmAM, madhyama chatAM posAtA varganuM ja protsAhana tathA preraNA gujarAtamAM sulabha banyAM hatAM. eTale ja gujarAtanI citrakalA rAjyAzrita hatI nahi, paraMtu moTe bhAge zrImaMta madhyamavarganA jaino tathA bhAvika hiMduo dvArA poSAI hatI. puNya kamAvAnI IcchAthI madhyamavarga A rIte kalAne poSaNa ApI kRtArtha banato hato. e ja pramANe zilpa sthApatyamAM paNa gurjarezvaranA maMtrIo vimaLazAhe ane vastupAla-tejapAle AbundelavADAnAM ane kuMbhAriyAnAM maMdironI tathA giranAra ane zatruMjaya uparanI je zi95samRddhi khaDI karAvI teo paNa, gujarAtI samAjamAM upalA madhyama varganA ja hatA. A uparAMta asaMkhya vAva, kuvA ane taLAva jevAM sArvajanika bAMdhakAma bhAvika prajAjanonI saMpattimAMthI ja nirmANa thayelAM che. Ama gujarAtamAM A prakAranI lokazailIne je uttejana maLyuM tene rAjyAzrayathI vikaselI ziSTakalA sAthe sarakhAvavAnI bhUla kadI na thavI joIe. gujarAtanuM lokAzrita saMgIta gujarAtanuM saMgIta--khAsa karIne lokasaMgIta-rAsa, garabA, garabI, bhajana, pada-e paNa moTe bhAge lokabhogya ane lokAzrita evuM dezI saMgIta ja che. mArga " athavA zAstrIya saMgIta tathA nRtya vagere, je rAjasabhAomAM ja vikAsa pAmatuM rahe che ke, gujarAtamAM bahudhA jovA maLatuM nathI. joke zAstrIya saMgItanA keTalAka viziSTa rAgone gujarAtanAM keTalAMka sthaLo uparathI oLakhAvavAmAM Ave che

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gujarAtanuM lokajIvanaH rara7 kharA? jemake khaMbhAyatI, bilAvala, mAru, gurjarI vagere. chatAM gujarAtanuM saMgIta tathA gujarAtanuM nATya moTe bhAge "lokasaMgIta" ane "lokanATya' ja rahyAM che. vidyAsevanamAM udAsIna gujarAtIo madhyakAlIna gujarAtano vidyAsevakavarga solaMkIo ane vAghelAnA samayamAM vidyAvyAsaMgI banyo hato, je mATenI preraNA, paramAra rAjA bhojanI hindavyApI sarasvatI-upAsanAmAMthI maLI hatI. paraMtu te pachInA samayamAM, vidyAnuM sevana moTA pramANamAM athavA to ucca kakSAe thayuM jaNAtuM nathI. "vidyA khAtara vidyAnuM sevana" gujarAtamAM a5-atya5 thayeluM jaNAya che. yajJayAgAdi karanAra brAhmaNoe tathA upAzrayomAM vidyAnuM sevana karanAra jaina munioe jJAnanI jyotane jhAMkhI thatI aTakAvavAmAM sArI sevA bajAvI che e kabUla karavA chatAM, A varganI upAsanA samAjavyApI banI hoya ema kahI zakAya tema nathI. gujarAtamAM saMskRtane pracAra saMskRta sAhityanuM avataraNa gujarAtamAM ghaNA samaya pahelAnuM thayuM hatuM te dhyAnamAM levA jevuM che. saMskRtamAM je pahelo lAMbo lekha A dezamAM kotarelo maLyo che te, jUnAgaDhanI giranAranI taLeTI AgaLa azokanA lekhavALI zilA uparano che. A lekha kSatrapa mahArAjA rakAdAmAno I. sa. 150no lekha che. A lekhamAM "zabdArtha vidyA" athavA " vyAkaraNa vidyAno ullekha che. te pachI bhaddI ane mAdha jevA saMskRta kavio thaI gayA che kharA. pachI IsvIsananA bAramA zatakamAM hemacaMdrAcArya ane temanA rAmacaMdrasUri jevA ziSyonI sAhityakRtiothI ane teramA zatakamAM somezvaradeva, arisiMha, nAnAka, zrIpAla vagere vastupAla-tejapAlanA Azrita kavionI kRtio dvArA gujarAte saMskRta sAhityamAM phALo apyo che. paraMtu ucca sAhityakakSAnI daSTie pahelA varganAM nahi, paraMtu bIjA-trIjA varganAM kAvyo ane nATako gujarAtamAM ThIka saMkhyAmAM racAyAM che. te pachI, saMskRta vidyAnuM gADha parizIlana ghaTI gayuM. joke saMskRta racanAono nAno pravAha to cheka gayA saikA sudhI cAlyo che. vidyAvyAsaMgamAM pAchaLa gujarAta eTale ja svIkAravuM paDe che ke gujarAtIono vidyAno vyAsaMga, mahArASTra, baMgALa ke draviDanA paMDito sAthe sarakhAvatAM nabaLo ja kahevo paDe tevo che. mahArASTramAM to "mAdhukarI' prathAnI madadathI garIba brAhmaNabahuone vidyArthI avasthAmAM nirvAhanuM sAdhana saikAo sudhI apAyuM che; je e prAMtanA vidyAprema batAve che. tyAre phakta purANanI kathA vAMcI, potAno pATalo sAcavI zake tethI vadhAre saMskRta bhaNanArA brAhmaNo, gujarAtamAM koIka ja nIkaLyA che. saMskRta mahAkAvyomAMthI ekabe, ane thoDuM vyAkaraNa kaumadI' ke 'sArasvata" eTalAthI ja saMtoSa mAnanAra ghaNA hatA. kAzI jaIne vadhAre bhaNanArA to virala ja. vaLI kAzImAM zAstrI ane zreSTha adhyApaka tarIke mahArASTrIo ane baMgALIonI, gaIkAla sudhI je prakhyAti jovAmAM Ave che tevuM koI gujarAtIe potAnuM nAma kAzImAM kADhayuM hoya ema jANavAmAM nathI. A hakIkata vidyAvyAsaMgamAM gujarAtIonI nyUnatA sacoTa rIte batAve che. dharmamatAntare pratye samabhAva bIje pakSe joIe te gujarAtamAM brAhmaNanuM vidyAbaLa ochuM hovAthI, ApaNAmAM dharmanuM khUnI jhanUna paNa ghaNuM ochuM jovAmAM AvyuM che. brAhmaNa ane a-brAhmaNanA jhaghaDAthI gujarAta para rahI

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228: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthe zakyuM che; ane dharmabhAvanAmAM paraspara mata-sahiSNutAno guNa temanAmAM vadhAre jovAmAM Ave che. sAmAnya rIte vargonA kramanI bAbatamAM gujarAtamAM UMcI varaNa eTale "vANiyA-brAhmaNa" ema kahevAya che. vastutaH, brAhmaNanuM sthAna vANiyA pachI Ave che. jaina maMtrIonI samAdhAnavRtti vikrama saMvata 1181mAM mahArAjAdhirAja siddharAjanI sabhAmAM digaMbara jainonI vAdavivAdamAM hAra thaI tyAre, bIjI taraphathI zaiva rAjAonA AzrayathI svadharmano pracAra karatA jena AcAryoe, zaivavaiThaNava mata sAthe vyavahAru DahApaNathI samAdhAnavRtti rAkhI. e kALa pachIthI Aja sudhI, jaino ane zavaSNavoe gujarAtamAM salAhasaMpathI rahevAnuM cAlu rAkhyuM che. madhyakALamAM zevarAjAnI sevA jaina maMtrIoe karI che; ane temaNe dAna vagereno lAbha jaina uparAMta brAhmaNa saMsthAone tathA brAhmaNa vidvAnone ane kavione paNa Apyo che. kevaLa matAMtarasahiSNutA ja nahi, paNa matAMtaro prati samabhAvanuM je UMcuM dhoraNa maurya samrATa azoke AraMvyuM hatuM ane jene guptoe ane valabhInA mitroe apanAvI lIdhuM hatuM ke, gujarAtanA rAjavIoe ane jena-brAhmaNa maMtrIoe madhyakAlIna jamAnAmAM paNa jALavI rAkhyuM hatuM. jaina dharmane gujarAtanA ghaDataramAM phALo jaina dharme gujarAtanI saMskRtinA vikAsamAM mUlyavAna phALo Apyo che. A madhyakAlIna samayamAM ja gujarAtanA saMskRta sAhityanI, apabhraMza sAhityanI ane jUnI gujarAtInA sAhityanI jainoe ghaNI sevA karI che. vaLI graMtho lakhI-lakhAvIne, tathA "graMtha bhaMDAro' sthApIne, vidyAne jIvaMta rAkhavAnuM kArya temaNe karyuM che. jena ane jainetara vidyAviSayaka aneka graMtho, bIje kyAMya nathI sacavAyA te, jaina bhaMDAromAM sacavAI rahelA maLyA che. jenA mATe jinAlayo baMdhAvIne, tathA pustakone sacitra karAvavAnI prathAne ghaNuM Azraya ApIne, sthApatya, mUrtividhAna tathA tADapatra, lAkaDAnI pATalI ke kAgaLa upara citro dorAvavAnA viSayamAM lAkho rUpiyA kharacatAM, temaNe pAchuM vALIne joyuM nathI. ahiMsA ane jIvadayAna prasAra ahiMsA ane jIvadayAnA AcArane vyApaka banAvavAmAM paNa jainono agragaNya phALo che. pakSIone caNa nAkhavA mATe gAmaDe gAmaDe dekhAtuM "parabaDI'nuM suMdara sthApatya tathA mUMgAM prANIonA visAmArUpI pAMjarApoLo', gujarAta bahAra bhAgye jovA maLaze. maMdironA sthApana-mahotsavo, mUrtionAM rAgarAgaNInAM tathA dezI saMgItanAM suzrAvya stavana, arcana, vrata-upavAsa tathA varaghoDA ane tIrthayAtrAo--vagere viSayomAM, vaiSNava dharmanI ane jaina dharmanI samAna ane samAMtara pravRtti cAlatI hatI. AvI sAMskRtika pravRttione nitya nihALavAthI, janasamAja upara udAtta asara thatI AvI che, tema bane dharmonA AcAramAM koI moTo bheda bhAgye temane dekhAya che. pariNAme, sAmAjika jIvanamAM paNa eka ja vaizya jJAtimAM vaiSNava kuTuMbo ane jaina kuTuMbo hoya che, ane teo paraspara beTIvyavahAra karavAmAM paNa bAdha gaNatAM nathI. Ama banne samAja samarasa rIte vartatAM jaNAyA che.

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gujarAtanuM lokajIvana : 229 jaina tathA vaiSNava vacce sumeLa TUMkamAM kahIe to, gujarAtamAM bhAratIya saMskArone, viziSTa valaNa arthAta gujarAtI vyaktitva ApavAmAM, jo koI saMskAro vizeSa prAbalya darzAvyuM hoya to te jainadharma ane vaiSNavadharmajenA anuyAyIonA jIvanavyavahArathI sAdhAraNa rIte, gujarAtanI samasta hiMdu vasati ekaraMge raMgAyelI rahI che. ahiMsA, durAgrahano abhAva, bAMdhachoDanI samAdhAnavRtti ane dAnavRtti jevA saMskAro-moTe bhAge A be dharmasaMpradAyothI ane lokonI vepArIvRttithI poSAIne gujarAtI svabhAvanA sthAyI valaNarUpa banyA che. gujarAtInAM svabhAvalakSaNo gujarAtanI viziSTa saMskAritAno anubhava gujarAtanA arthalakSI svabhAvamAM, tenAM vinayazALI cAritramAM, tenA sarvavyApI udArabhAvamAM tenI namra dharmazIlatAmAM ane tenA badhA sAthe meLathI rahevAnA guNamAM anubhavI zakAya tema che. gujarAtanI asmitA tethI ja ekadama prAMtika, sthAnika ke saMkucita nathI. gujarAtanI saMskAritAmAM brAhmaNatva che, kSatriyatna che, vaizyatve che. temAM zuM bhAva paNa che. temAM bhAratIya tattva che eTaluM ja nahi, paraMtu temAM vizvabaMdhutvanA guNa paNa rahelA che. chellA guNanI atizayatA, keTalIka vakhata gujarAtane "vevaluM" kahevaDAve che. gharanAM chokarAMne bhUkhyAM rAkhI, upAdhyAyane ATo ApI, e khoTo AtmasaMtoSa anubhave che. gujarAtane "thAya evAM thaIne', gAma vacce rahetAM AvaDatuM nathI. ane tethI ja, thavA dhAre to meM ene prAntavAdI banatAM AvayuM nathI. gujarAtanA A guNanI AvI maryAdA paNa che te bhUlavuM joIe nahi.

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gujarAtI bhASAnA dvirukta zabda ane temanuM vargI ka ra Na prabhAzaMkara rA. teraiyA koI paNa bhASAnA zabdabhaMDoLamAM dvirukta zabdo (Reduplicatives) mahattvanuM sthAna dharAve che. gujarAtI bhASAmAM paNa dvirukta zabdo ApaNA zabdakozanuM eka mahattvanuM aMga che. dvirukta eTale ekanA eka aMzano ke ghaTakano evAra prayoga. AvA prayoga traNa kakSAe maLI Ave che : (1) vAkyanI (Sentence) kakSAe (2) vAkyakhaMDanI (Phrase) kakSAe (3) zabdanI kakSAe. ' * cAlyo Ava cAlyo Ava.,' 'khola mA bola mA, vagere vAkyakakSAnA dvirukta prayoga che. 'sUDI sUDIne ThekANe rahI.,' 'rAkSasa khAuM khAuM karato Avyo.,' 'vAMcatAM vAMcatAM rAta pasAra karI.' vagere vAkyakhaMDanI kakSAnI dviruktinA prayogo che. prastuta lekhamAM mAtra zabdakakSAnA dvirukta zabdonI carcA ane vargIkaraNa karavAmAM AvyAM che. dhvani (Sound)nI jema ruikti thAya che tema arthanI (Meaning) paNa dvirukti thAya che. jemake, 'dhanadolata,' 'lAjazarama,' 'kAgaLapatra', 'jIvajAna' vagere. parabhASAno eka alpaparicita lAgato zabda spaSTa karavA mATe tenI sAthe paricita bhASAno pracalita zabda viSNu rUpe jANe ke mukAto hoya tema bane che. A prakAranA ghaDataranuM valaNa pramANamAM ghaNuM jUnuM che. A prakAranA zabdone DaoN. sunItikumAra ceTarjIe 'bhASAntara samAsa' (Translation Compounds) evuM vizeSa nAma ApyuM che.! AvA prakAranA zabdono judo ja varga che jemAM arthanI dvirukti thatI hoya che. AvA arthanI dviruktinA tattvane bAkAta rAkhI, dvirukta zabdonuM svarUpa ApaNe A pramANe nizcita karI zakIe ke jemAM dhvanimUlaka mULa dhaTakanI dvirukti thatI hoya te ja dvirukta zabda O 1 juo temanA lekha : 'polIgloTIjhama Ina InDo-Aryana' : dhI sevantha oNla inDiyA oNriyenTala kaoNnpharansa : vaoN0 1 : vaDodarA : 1933 : pR0 177-189,

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gujarAtI bhASAnA dvirukta zabda ane temanuM vargIkaraNa : 231 mAtra dhvaninI nahi paNa dhvanimUlaka dhaTakanI dvirukti thavI joIe eTalI spaSTatA Avazyaka che, kAraNake mAtra dhvaninI dviruktithI dvirukta zabda kahI zakAya nahi. ravAnukArI (Onomatopoetic) zabdomAM mukhyatve ravanuM bhASAmAM varNa dvArA anukaraNa karavAmAM AvatuM hoya che. Tananana, khaLaLaLa, bhaDaDaDa, jhaLaLaLa, bhaDaDaDa, dhararara jevA zabdone dvirukta zabdo kahI zakAya nahi parantu temAMthI sAdhita thayelA ke temanAM rUpAntara anukrame TanaTana, khaLakhaLa, bhaDabhaDa, jhaLajhaLa, bhaDabhaDa, gharadhara spaSTa rIte dvirukta prayoga che, kAraNuke temAM dhvanino mULabhUta dhaTaka dvirukta thayo che. ghaNIvAra gujarAtImAM e akSaravALA (Syllable) vizeSaNonA bIjA akSarano vyaMjana jyAM bhAra devo hoya tyAM mevaDAvavAmAM Ave che. bIjI rIte kahIe to gujarAtImAM dhaNAMye dri-akSarI vizeSaNonAM e rUpa hoya che : eka bhAramukta (unemphatic) ane bIjuM bhArayukta (Emphatic) temanI vacceno bheda khIjA vyaMjananI ha~svatA-dIrdhatA dvArA darzAvAya che; jemake : sAcuM-sAccuM, pAkuM- pAkaruM, mIThuM-mIThuM, khATuM-khATuM, kheDuM-eThuM vagere. A eka mAtra abhivyaktinI paddhati che ane baMne rUpo pracalita che. khIjuM rUpa vizeSa kholImAM maLe che. temane dvirukta zabda na gaNI zakAya. ATalI carcA pachI e spaSTa thaze ke dvirukta zabdanA ghaDataramAM dhvanimUlaka eka ghaTaka ke sampUrNa aMganI dvirukti thAya che te zabdanuM svarUpa samasta ke asamasta hoya. atyAra sudhI ApaNA vidvAnone dvirukta zabdanuM AvuM svarUpa spaSTa na hatuM tethI teoe karelA temanA vargIkaraNamAM moTe bhAge atArkikatA ane azAstrIyatA AvI gayelAM che. kamaLAzaMkara prA. trivedI, narasiMharAva dIveTiyA, navalarAma trivedIe gujarAtInA; ane zrI esa. ema. kannee inDo-Aryana dvirukta prayogonAM vargIkaraNanI yojanA vize vicAraNA karI che. temanA A viSayanA kAryanI vizeSatA ke maryAdAnuM vivecana atre aprastuta che tethI mAtra temaNe karelI vargIkaraNanI yojanA pUratI ja carcA A lekhamAM maryAdita rAkhavAmAM AvI che. prathama temanA vargIkaraNanI saMkSepamAM carcA karI aMte gujarAtI dvirukta zabdonuM ghaDatara, kArya ane svarUpanI dRSTie vargIkaraNa ApavAmAM AvyuM che. kamaLAzaMkara trivedI : dviruktinI vyAkhyA, svarUpa, prakAra vagerenI carcA kamaLAzaMkare karI nathI. prathamathI ja dviruktinA sAta prakAra ApI dIdhA che. prakAranuM lakSaNa ApI tenAM udAharaNo ApavAmAM AvyAM che. A vargIkaraNamAM koIpaNa prakAranI vyavasthA ke zAstrIyatA jaNAtI nathI. A kula sAta prakAro mULa kayA tattvane AdhAre pADavAmAM AvyA che tenI kazI paNa spaSTatA maLatI nathI. khIjA prakAranI vyAkhyA A pramANe che : " dviruktinA e zabdamAM prathama zabdane vibhakti lAgelI hoya che ke teno anya svara dIrdha thayelo hoya che ke temAM pheraphAra thayelo hoya che ane bIjo mULa svarUpamAM hoya che. '' tenI nIce vizeSaNanA upazIrSaka nIce ApelAM udAharaNo saMpUrNa rIte asaMbaddha che, tema ja sarvanAmanA upazIrSaka nIce ApelAM udAharaNomAM te ja sthiti che. jemake, 'cAra cAra, pAMca pAMca, koNa koNa, zuM zuM 'mAM vyAkhyA pramANe prathama zabdane nathI vibhakti lAgI ke teno anya svara dIrgha thayo nathI ke temAM kazo pheraphAra thayo nathI. * prastuta vargIkaraNamAM vAkyanI kakSAnI dvirukti bIjA varganA kriyApadanA zIrSaka nIce darzAvI che. jemake, 'jA jA, Ava Ava, khola khola' ane te pachI tarata ja 'te cAlato cAlato Avyo.,' ra ' gujarAtI bhASAnuM bRhad vyAkaraNa ' muMbaI, 1919. prakaraNa 31 pR0 389-394.

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ra3ra : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI te doDato doDato gayo."mAM A vAkayakhaMDanI kakSAnI dikti che. Ama vAyakalA, vAyakhaMDa-kakSA ane zabdakakSA vacce kazo bheda jaNAvAyo nathI. A uparAMta svaninI dikti ane arthanI dikti baMnenI carcA karI che paNa tenI vacce spaSTa bhedarekhA dorAI nathI. pAMcamA prakAramAM dhvanine lakSamAM rAkhI varga yojyo hoya tema lAge che, jyAre sAtamA prakAramAM "paryAya zabdathI dvirukti thAya che," ema jaNAvyuM che eTaluM ja nahi, paNa ApelAM udAharaNa yojelI vyAkhyA sAthe asaMgata che; jemake, "tIkhuM tamatamuM, lAlacoLa, kALuMmeMza'mAM paryAyo sAthe yojAyA ja nathI. Ama kakSA, dhvani ane artha vaccenI avyavasthAne lIdhe AkhAye vargIkaraNanI yojanA atArkika ane azAstrIya banI gaI che. - narasiMharAva dIveTiyA : narasiMharAva yugmacArI zabado ne "vAsaNasaNAdi gaNanA nAme oLakhAve che. A zabdo "ghoDobojevA zabdothI judA che ema jaNAvI temanuM vargIkaraNa Ape che. temanA mate "ghoDoloDo mAM ghoDo ane tenA jevuM, evo artha nIkaLe che tyAre prastuta zabdayumomAM ityAdi' evo artha nIkaLe che. teo A prakAranA zabdonA traNa varga pADe che : (1) jemAM prathama ghaTaka sAthe hoya tevA zabdo : jemake, vAsaNasaNa...TekADhayA...dIkaThAka vagere. (2) jemAM ditIya ghaTaka sAthe che tevA zabdo : jemake, AsapAsa. ADozIpADozI. ArapAra vagere. (3) jemAM baMne ghaTaka sArtha che tevA zabdo : jemake, rAcaracIluM...jIvajaMta..pheraphAMTo vagere. narasiMharAvanuM A AkhuM ye vargIkaraNa athati che. temanA dhyAnamAM yugmacArI zabdo ja che tethI ApaNI dRSTie A vargIkaraNa anukULa Ave tema nathI. "ityAdi arthavALA zabdone lIdhA che tema teo jaNAve che; paNa "ThIkaThAka" "ArapAra' jevA aneka udAharaNo sAthe teno meLa besato nathI. Ama chatAM bIjo varga spaSTa rIte dvirukta zabdono che. paNa viSayanA abhigamanI daSTi ja judI che, tethI ApaNA mATe A yojanA taddana nirupayogI che. navalarAma trivedI : navalarAma trivedI narasiMharAvanA vargIkaraNane AdhArabhUta mAnI temAM vizeSa prabheda pADe che. prathama to teo narasiMharAvanA trIjA varganA traNa prabheda pADe che : (1) eka ja zabda be vakhata vaparAya-jhaTajhaTa, mora mora, AgheAghe, cheTe che, UUMce, dUradUra. (2) eka ja arthavALA be judA judA zabdo vaparAya temAM bIjA zabdano uddeza vagere darzAvavAno hoya che, jemake, kAgaLapatra, haiyAM chokarAM, hamaThekANuM, kAmakAja, cIjavastu, bAvAsAdhu, lAjaAbarU, phika ciMtA. 3 "gujarAtI leIjha eNDa lITarecara': bhAga-2 muMbaI, 1932, 50 178-180 4 "buddhiprakAza': julAI-sapTembara ! aMka 3: 1936 : 50 263-267,

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gujarAtI bhASAnA dvirukta zabda ane temanuM vagIkaraNa : 233 (3) maLatA arthavALA zabdo jemAM bIjA zabdane uddeza pahelA zabdanA arthamAM umero karavAno che. narasiMharAve gaNavela A varganA (trIjA varganA) sarva zabdo A peTAvibhAgamAM AvI zake temAM vagere jevo artha paNa koIvAra nIkaLe. jemake, mAnamaratabo. narasiMharAvanA trIjA vargamAM ATaluM saMzodhana karI navalarAma temAM eka svataMtra cotho varga umere che, jemAM chUTaka baMne zabda artha vagaranA hoya che paNa bhegA thAya tyAre temAMthI artha nIkaLe che; jemake, akadaka, ekeDa, aAMgajAMga, aDIdaDI. navalarAmanuM A vargIkaraNa narasiMharAvanA anusaMdhAnamAM ja che ane mukhyatve arthAzrita che. narasiMharAvanA trIjA varganA ApelA traNa peTAvibhAgamAMnA prathama peTAvibhAgamAM spaSTa rIte dhvaninI dviruti che, tyAre bIjA peTAvibhAgamAM bhASAntara-samAsa che. navalarAme cothA vargamAM darzAvela akadaka, aDIdaDI spaSTa rIte narasiMharAve jaNAvelA bIjA varganAM ja udAharaNa che. TUMkamAM narasiMharAvanAM vargIkaraNanI maryAdAo A vargIkaraNanI paNa che. arthanI aspaSTatA ane sApekSatAne lIdhe vargIkaraNamAM Dagale Dagale matabhedanI saMbhAvanA rahe che. A uparAMta moTA bhAganA zabdo dvirukta nathI. zrI esa. ema. ka: zrI kae ApelI vargIkaraNanI paddhati sUkSmadarza ane diktionAM svarUpa ane kArya para prakAza nAkhanArI che. A viSaya pratyeno temano abhigama zAstrIya ane Adhunika bhASAvijJAnanA siddhAMtonI UMDI sUjha upara AdhArita che. zrI ka dvirukta zabdonA mukhya cAra varga A pramANe Ape che : (1) varNa ke varNasamUhanI dviruktivALA ravAnukArI zabdo. (2) saMjJAmUlaka, vizeSaNamUlaka, sarvanAmUlaka, ane sArvanAmika vizeSaNamUlaka, saMkhyAdarzaka mUlaka, kriyAmUlaka ane kriyAvAcaka padamUlaka AkreDita racanAvALA zabdo. (3) baMne ghaTaka sArtha hoya tevA prAsamUlaka zabdo. (4) jemAM eka ja ghaTaka sAthe hoya tevA pratidhvanyAtmaka zabdo. udAharaNa nIce pramANe che: (1) varganAM udAharaNaH inaThana, DabhaDabha, taDataDa vagere. (2) varganAM udAharaNa (1) saMsAmUlaka : ghaDIghaDI. (2) vizeSaNamUlaka : jarAjarA, garamagarama. (3) sarvanAmamUlaka : ApaApaNuM. (4) sArvanAmika vizeSaNamUlaka (Pronominal Adjectives) : jemajema, tematema. 5 buleTana oNpha Dekakana kaoNleja sarca insTiTayuTa', pUnA. vaoNlyuma ekamano lekha-'uDuplIkeTijha Ina InDo-Aryana', I. sa1939-40, 50 60-70,

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234 zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha (5) saMkhyAdarzakamUlaka ekaeka, bebe, (6) kriyAvAcaka padamUlaka (verbal Formation) : ramataramata. (3) varganAM udAharaNa : jaMtaramaMtara, rahyuM huM, ramatagamata. (4) varganA be prabheda paDe che : . (a) prathama ghaTaka sAthe hoya tevA zabdo : jemake, navuMsavuM, sAcamAca. (A) bIjo ghaTaka sAthe hoya tevA zabdo jemake, ADoza pADozI. dvirukata zabdonAM ghaDatara, svarUpa ane artha: vargIkaraNa dikti saMjJA Ama to koI paNa zabda, zabdAMza ke ghaTakanA eka AvartananI vAcaka che. paNa A uparAMta AvRtta ke dvirukta zabdonAM bIjuM paNa keTalAMka lakSaNo che, e bhulAvuM na joIe. AmAMnuM eka, tarata najare caDe tevuM lakSaNa te dviruktiomAM pravartatuM prAsanuM tattva che. dvirukta zabdomAM temanA ghaTako vacce eka ke vadhAre akSarono prAsa jovA maLe che. vaLI keTalIka diktiomAM eka ghaTaka bIja ghaTakanA bIbA uparathI navesarathI ghaDAyo hoya evuM paNa jovA maLe che. A uparAMta di rakta zabdonA be ghaTaka vacceno saMbaMdha judI judI kakSAno hoya che. taddana svataMtra vyaktitva dharAvatA ghaTakothI mAMDIne khAsa pRthakkaraNathI judA pADIe to ja judA paDe evA ghaTako sudhInI saMbaMdhanI kakSAo joI zakAya che. eTale rikta zabdonA vargIkaraNanI koI paNa zAstrIya yojanA A hakIkato upara lakSya kendrita karIne ja yojAvI joIe te dekhItuM che. prastuta lekhamAM dvirukta zabdonAM vargIkaraNano prayAsa che. vAkya ane vAkyakhaMDanA dhirakta prayogonI ApaNe AgaLa carcA karI paNa hakIkatamAM dvirakta zabdo jevo vargIkaraNano prazna temanA saMbaMdhe nahi rahe. vyAkaraNanI dRSTie temanA vargo pADavA saraLa che. zrI kanTenA vargIkaraNano bIjo prakAra eTale ke Ati prakAranA dvirukta zabdonA prakAramAM thoDo pheraphAra Avazyaka che. mULa pANini pramANe vIsA ke AbhI zya sUcavavA je dikti thAya che tenA bIjA padane ja AkreDita kahevAmAM Ave che. vIpsA eTale pratyeka (Distributive Sense) evo artha che, tyAre AbhIrya dvArA kriyAmAM sAtatya ane utkaTatA sUcavAya che. gharaghara, gAmagAma vIsAnAM; ane mArAmArI, doDAdoDa, doDadoDa AbhISyanAM udAharaNa che. Ama to A eka vyAkaraNanI paddhati che paNa te dvArA je rUDha prayogo banyA che teno vIsAmUlaka athavA AvartanamUlaka dvirukta zabdo evo varga Ubho karI zakAya. dvirakta zabdonA ghaDatara dvArA kAM to vIsA ke pratyekatAno artha sadhAya che, kAM to abhIya ke kriyAnA sAtatya ane ugratA sadhAya che, kAM to ravAnukaraNa vyakta thAya che athavA to prAsaracanA ane te dvArA keTalIkavAra samUhabhAvanI abhivyakti sadhAya che. A hetune anulakSIne dvirukta zabdonuM vargIkaraNa karavuM Avazyaka ane iSTa che. zrI kanTenI yojanAmAM paNa A ja dhoraNa moTe bhAge anusmRta che, 6 tasya paramAhita6/ (8-1-2) -

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gujarAtI bhASAnA dvirukta zabda ane temanuM vargIkaraNa : 235 ATalI vicAraNAne lakSamAM rAkhI gujarAtI bhASAnA dvirukta prayogonuM vargIkaraNa A pramANe yojI zakAya : (1) vIpsAvAcaka ke AvartanavAcaka dvirukata zabdo : (ka) saMyojaka vinAnA dvirukta zabdo : (1) mULa ghaTakanI avikala dviruktivALA : jemake, ekaeka, ee, pharIpharI, mAMDamAMDa bhalebhale vagere. (2) jemAM mULa dhaTakano aMtima aMza lupta thayo che tevA : jemake, eTaeTaluM keTakeTaluM, ApaApaNuM, TheraTharAva, ThekaThekANe vagere. (kha) saMyojakavALA dvirukta zabdo : : (1) A------saMyojakavALA jemake, akaDAakaDI, caDAcaDI, UbhAUbha, kheMcAkheMcI, mArAmArI vagere, (2) e--saMyojakavALA : jemake, kAlekAna, gAmegAma, dharezvara vagere. (3) o----saMyojakavALA : jemake, aDadhoaDadha, kAnokAna, aMgoaMga, najaronajara, bhavobhava vagere. (4) anusvAra--saMyojakavALA : jemake kUdaMkUdA, gALaMgALI, ThokaMThoka, do doDa, polaMpola vagere. (2) ravAnukArI dvirukta zabdo : (ka) ghaTakanA avila AvartanavALA .i zabdo : (1) saMyojaka vinAnA : jemake, khaTakhaTa, gaTagaTa, dharadhara vagere. (2) saMyojakavALA : (a) A--saMyojakavALA : kacAkaca, kaDAkaDa, caTAcaTa, dhabAdhaba, chanAna vagere. (A) o--saMyojakavALA : TapoTapa, caTocaTa, phaTophaTa, sabosaba vagere. (kha) ghaTakanA AMzika parivartanavALAH (mULa zabdanuM dhaDatara ravAnukArInuM, paNa e dhaTaka vacce prAsa) khaLabhaLa, khaTapaTa, gAbaDa, caDabhaDa vagere. (3) prAsasAdhaka dvirukta zabdo : (ka) jemAM baMne ghaTako pracalita ke sArtha hoya tevA dvirukta zabdo : jemake, baLyuMjayuM, rahyuMsahyuM, AvakajAvaka vagere. (kha) jeno eka dhaTaka pracalita ke sArtha che ane bIjo dhaTaka pratidhvanyAtmaka (Echo or Jingle) che tevA dvirukta zabdo. (1) pAchalo ghaTaka pratidhvanyAtmaka : (a) AdyavyaMjanane sthAne akAravALA : dharabara, kAmayyAma. (A) AdyAkSaranA svaranA parivartanathI sadhAyelA.

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236 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava cantha (1) saMyojaka vinAnA kApakUpa, pUchapAI, thIMgaDathAgaDa vagere. (2) saMyojakavALA kApakUpI, DAghAghI vagere. (I) sapUrNa AdyAkSaranA parivartanavALA vAsaNasaNa, addhara paddhara, uparAchAparI, AkhuMpAchuM vagere. (2) Agalo ghaTaka pratibhavanyAtmaka: (a) saMyojaka vinAnA : ADozI pADozI, aDIdaDI, vagere. (A) saMyojakavALA : adalAbadalI. A pramANe samagra rikta zabdo mULa mukhya traNa vibhAgamAM vibhAjita karIne piTAvibhAga pADI zakAya. dareka ghaDatarane tenI paraMparA ane ItihAsa che.

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itthI parinnA [ bhAratIya chanda zAstranA pradhAna tarIke saMpAdita kareluM jaina sAdhujIvanane lagatA kAvyanuM eka prakaraNa] lekhaka : pro. DaoN. luDavIga AsaDo anuvAdaka : aruNodaya na jAnI AyaraMga, dayAliya ane uttarajhAya uparAMta sUyagaDAMga e zvetAmbara jaina siddhAntanA cAra * Agama grantho paikInuM eka che. enA prathama suyakhaMdhanA cothA prakaraNane ahIM tenI samIkSita carcA karavA mATe be kAraNone lIdhe juduM pADyuM che: 1. brahmacarya ane strIo pratyeno vyavahAra e prazna, je sAdhuonAM jIvana ane AcArane lagatA mukhya prazno paikIno eka che, tenI te carcA kare che ane te ya paNa noMdhapAtra rIte kare che. joke ApaNane emAM saiddhAtika, Adarza vastusthitinuM vidhAna karatA ane AlekhatA AcAranA vigatapUrNa niyamonuM samagra zAstra maLatuM nathI. paraMtu Azcarya pamADe evI saraLatAthI kabUla karelA rojiMdA vyavahAranAM dUSaNothI udabhavelI AgrahapUrNa vinati maLe che. sAdhue kharekhara strIo sAtheno saMparka cIvaTapUrvaka tyajavo e vadhAre sAruM che; paraMtu sAdhu jIvananI mULabhUta jarUriyAta eTale ke rojanuM bhikSA mATenuM bhramaNa che; ane 1 prastuta prakaraNa ApaNane jyAM pAchA kheMcI jAya che tevA jaina saMghanA itihAsanA dUranA AraMbhakALamAM ja mAtra Adarza siddhAnta ane dayanIya vyavahAra vaccenuM aMtara ghaNuM moTuM hatuM ema nathI. DaoN. yu. pI. zAhe (jarnala, ezi. sosA. muMbaI, 30, 1, pR. 100) aNahilavADa pATaNamAM sana 124ramAM bharAyelI jaina pariSadanA, hastalikhita graMthamAM sacavAyelA, dhaNA ramUjI vRttAMtane pragaTa karyo che. keTalAka saMkhyAbaMdha moTA AcAryo ane bIjA agatyanA sAmAnya mANasoe A pariSadamAM eka TharAva pasAra karyo che. te samaye pracalita rivAja pramANe jena AcAryo mAtra saMtAnotpatti karatA eTaluM ja nahi, paraMtu temane sAdhu ke sAdhvI tarIke dIkSA paNa ApatA agara AcAryapade paNa temane sthApatA. A rivAjanI te TharAvamAM niMdA karI, teno niSedha karyo che.

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238 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thaW A bhikSA gharanI strIo dvArA sAdhuone apAtI hoIne sAdhuono strIo sAtheno niyamita ane vAraMvAra thato saMparka anivArya bane che. sAdhuonA AcAro ane saMdhanI pratiSThAne mATe A saMparka dvArA utpanna thatA bhayonuM A prakaraNamAM AbehUba varNana karyuM che, ane sAdhune tyAga choDI saMsAramAM pAchA pharatA rokavAno prayatna karavAmAM granthakAra ApaNane nahi dhArelI ane koIkavAra amanoraMjaka nahi evI, prathama anuvAdaka yAkobInA zabdomAM "Azare 2,000 varSa uparanA hiMdu gRhajIvananI jhAMkhI" karAve che. 2. prastuta prakaraNanA 53 zlokomAM asAdhAraNa rasa Ubho kare evo bIjo guNa te temanuM svarUpa che. bhAratIya chanda zAstranA itihAsamAM jeTalA agatyanA teTalA ja durlabha evA, eTale ke AryAnA prAcInatara svarUpamAM, A zloko racavAmAM AvyA che. prAkRta kAvyamAM pracalitatama evI uttarakAlIna ke "sAmAnya" AryA, ApaNe jANIe chIe tema, jaina AgamonA arvAcInatama staranuM aMga che ane enA prAcInatara staronA (mULabhUta bhAgomAM) te sarvathA anupalabdha che. ethI UlaTuM cAlu AryAnI purogAminI prAcIna AryA, AyAra 1.9; sUyagaDa 1.4 ane (kaMIka aMze) uttarajhAya 8 ema atyaMta prAcInatama jaina graMthonAM traNa prakaraNomAM ane atyaMta prAcInatama paikInA eka evA suttanipAtanAM 8 ane 14 e be prakaraNamAM ja upalabdha thAya che. sarvaprathama yAkobIe AyAra 1.8 ane sUyara 1.4mAMthI A chaMdane zodhyo ane 2DMG 38, pR. 595...mAM enI carcA karI. paraMtu A be prakaraNonI samIkSita AvRtti A carcAnI sAthe nahi ApavAthI emaNe karelI vigatapUrNa AMkaDAmAM carcAnI vyAvahArika upayogitA moTe bhAge ochI thaI gaI jyAre hastalikhita graMthomAM ane cAlu chApelI AvRttiomAM asaMkhya dUSita ane acokakasa joDaNIo, tyAga, prakSepa ane judA judA bhraSTa pAkone lIdhe A chaMda bagaDI gayo che ane koIkavAra oLakhAya evo paNa nathI rahyo. pariNAme zabrige AyAra 1.9nI samIkSita AvRtti taiyAra karI ane chandanI punaH carcA karI. pAchaLathI e vidvAne enuM bhASAMtara paNa ApyuM ane A anuvAdanI samIkSA karatAM laoNyamAne (aar, 7, pR. 160...) chandanI daSTie vizeSa pradAna karyuM. AyAra 1nI sAthe zudhiMge sUyagaDa 1.4nuM bhASAMtara kareluM; paraMtu kamanasIbe AjasudhI enI samIkSita AvRtti taiyAra na thaI zakI. prastuta lekhanuM prayojana A khAmIne dUra karavAnuM che. A sAthe meM navo anuvAda ane granthanA keTalAka atyaMta gUMcavADA bharelA muddAonI carcA karatuM TippaNa umeryuM che. huM mAnuM chuM ke te yogya lAgaze. prazaMsanIya prAraMbhakAryarUpa yA nuM bhASAMtara zIlAMkanI TIkA tathA bIjI be arvAcIna TIkAo para saMpUrNa rIte AdhArita che, kAraNake te samaye bIjI koI sahAya na hatI. A TIkAo Aje paNa anivArya che, chatAM te vizvasanIya mArgadarzakanI garaja jarAya sAratI nathI. keTalIka spaSTa bAbatomAM temanAM vyAkhyAno ekAda zabda ke kaMDikAnA sAcA arthanuM saMpUrNa ajJAna batAve che; jyAre tira durbodha sthaLoe ApaNane taddana lAcAra banAve che-A hakIkata Ajeya paNa bhAgye ja vivAdAspada che. uparanI TIkAo uparAMta zubiMga pAse aneka amUlya ane rasika 2 sekreDa bukasa oNpha dhI IsTa, graM0 45, pR0 276, noMdha 2. 3 AcArAMga sUtra, prathama zrataraka (jarmana) grantha, pRthakkaraNa ane zabdakoSa (lAIpasIga, 1910). 4 Worte Mahaviras" pustakamAM (goTingana, 1926). 5 pI. elavaidya (juo nIce) taiyAra karelI sUyagaDanI samIkSata AvRtti tarIke jAhera karAyelI AvRtti ochAmAM ochuM 1. 4nI bAbatamAM-chaMda tarapha ochAmAM ochuM yAna ApI (kadAca chaMdanA jJAna vagara ja) taiyAra karavAmAM AvI che.

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parikSAH 239 pAThAMtarovALI cUNi TIkA paNa hatI. Anuzrutika vyAkhyAnonAM baMdhanothI moTe bhAge mukata evuM emanuM bhASAntara eka moTuM agatyanuM AgaLanuM sopAna che. dareka prAcIna Agama grantha-ane khAsa karIne prastuta graMtha--je muzkelIono gaMja khaDake che teno vicAra karatAM, je sthaLoe graMthanI chandoracanA arthane vikRta kare che tevA sthaLo bAda karatAM anyatra zubiMganA bhASAMtaramAM sudhArAnI zakyatAonuM sUcanA karavAnuM huM sAhasa karuM chuM tethI mane khAtarI che ke huM te bhASAMtaranI kiMmata jarAya ghaTADato nathI. mArA potAnA bhASAMtarane paNa huM chevaTanuM mAnavA tatpara nathI. haju ghaNAya dhUMdhaLA ke saMdigdha phakarAo che. je ke mane pratyakSa rIte hastalikhita grantho upalabdha na thayA, paraMtu graMthanI samakSita AvRtti taiyAra karavA mATe mane pUratI sAmagrI upalabdha hatI : (1) TI. = zilAMkanI TIkAvALI panyAsa zrIcandrasAgaragaNisaMpAdita AvRtti, zrI goDI pArzva jaina granthamALA naM. 4, muMbaI 1950. A graMthamAM pAdaTIpamAM saMpAdaka nIcenA granthomAMthI pAThAntaro Ape che : sAva = sAgaracandrasUrinI uparanA graMthanI pahelI AvRtti. a = zAMtinAtha bhaMDAra, khaMbhAtanI saM. 1349nI bhUrjapatra pothI (vijyakumudasUrijInuM sUcipatra, pR0 14, DAbaDo 62) ane- I = e ja bhaMDAranI kAgaLa para lakhelI pothI (sacipatra pR44, DAbo 2). (2) vai0 = sUcA...niryukita TIkA, bhinnabhinna pAThAMtaro, TipaNuM ane pariziSTa sahita sarvaprathama samIkSita AvRtti : DaoN. pI. ela. vaidya (ekalA !) saMpAdita. bhAga 1 (grantha ane niryukti), pUnA. 1928. (3) ha = (hiMdI anuvAdavALI) sthAnakavAsI graMthanI haidarAbAdanI AvRttino bIjo bhAga. prasiddhakartA: dakSiNa haidarAbAdanivAsI rAjAbahAdura lAlA sukhadevasahAya javAlAprasAdajI jaiharI (varSa ApyuM nathI). (4) cU0 = jinadAsagaNinI sUtrakRtAMgacUNi. prakAzaka : zrI RSabhadevajI kesarImalajI vetAmbara saMsthA, ratalAma, 1950. pubhikhu saMpAdita navI sthAnakavAsI AvRtti(suttA game prathama grantha, guragAMva, 1953)nI paNa meM tulanA karelI. paNa tema karatAM mane lAgyuM ke 1.4no pATha vai0 ne maLato ja che. baMnemAM phera eTalo che ke temAM 2.8 tRtIya pAdamAM jaina mukiMgAne badale minAi ane 2.18 tRtIya pAdamAM vai0nA va vA ne badale vA vA evAM pAThAntare che. - TI. vai0 ane hai, vageTa (pracalita pATha) rajU kare che. A graMthomAM kharA pheraphAro, sAcAM pAThAMtaro mAtra jaja che. a0 ane I. khAsa karIne amAM keTalIka jagAe kharekhara vadhu sArA pAThAntaro maLe che--khAsa karIne chandanI dRSTie karavA paDatA sudhArAone te kaMIka aMze samarthana Ape che. cUnI bAbatamAM paNa e ja paristhiti che. chatAM emAM Indane vyavasthita, saraLa ke punaH sthApita karavA mATenA keTalAka spaSTa prayatno tarI Ave che. ene lIdhe cU0nA pAThAMtarone durbodha pAThAntaro (lectio- difficilior) no siddhAnta kaDaka rIte lAgu pADavo ja rahyo.

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24 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI dareka pAda ke dareka zabda uddata nathI karatI te dhyAnamAM rAkhavA jevuM che. Ano artha e che ke jyAM samIkSita sAmagrImAM cUno pATha na Apyo hoya tyAM cUno pATha samIkSita graMtha sAthe saMmata che ema mAnavAne kAraNa nathI. a0 ane InI bAbata paNa sarakhI che. saMpAdaka keTalI cokasAIthI badhAM pAThAntare noMdhe che te ApaNe jANatA nathI. A saMjogomAM cU0, a0, ke I emAMnA eka ke ekathI vadhArenA pAThone TI. vai0 ane hai0thI viruddha jaIne huM svIkAruM chuM tyAre huM kauMsamAM temanA pATho spaSTa batAvuM chuM, jethI khAtarI thAya ke mAro grantha mArI aTakaLo para nahi paraMtu te te pAkane AdhAre nakkI karelo che. prAcIna AryAnA mukhya lakSaNe A pramANe che : (1) (pazcAtakAlIna gItinI mAphaka) zlokanAM be aDadhiyA sarakhAM che, eTale ke uttarArdhanA chaThThA gaNanuM svIkaraNa temAM nathI. (2) yati trIjA gaNa pachIthI AvatI nathI paNa (pazcAtakAlIna AryAnI bhASAmAM kahIe to) te cothA gaNanI madhyamAM Ave che. vadhu cokakasa rIte kahIe to trIjA gaNa pachI hasva ke dIrdha evo anyavarNa Ave che, je yAkobInI sAcI noMdha pramANe, batAve che ke ApaNe kharA pAdanA antabhAganI carcA karIe chIe. yati pachI pAMcamA gaNanI pahelAM, jene ApaNe samapAda kahIe chIe te zarU thAya che. tenI zarUAtamAM dIrdhavarNa hoya che. apavAda tarIke koIka vAra - 5 athavA - jyAre koIka vakhata Akho (cotho) gaNa paNa Ave che. jo viSamapAdane anta - hoya ane samapAdanI zarUAtamAM - - hoya athavA viSamapAdanA ane je - hoya ane samapAdanA AraMbhamAM - hoya to yatithI vibhakta thayelo cotho gaNa ApoApa AvI jAya che. yatine khaseDIne A be pAdone ekabIjA sAthe joDavAthI arvAcIna AryA kevI rIte udbhave che te uparanI hakIkata batAve che. bIjo gaNa haMmezAM gaNu hoya che. ghaNI jagyAe trIje gaNu -- no banelo che. vAraMvAra bane che te pramANe je pahelo gaNa paNa -- no banelo hoya to viSamapAda anuTubhano niyata zAstrIya samapAda (-- - --- 5) banI jAya che. kavio A tAdAmya jovAmAM niSphaLa na nIvaDyA. pariNAme zlokanI dRSTie niyamita, paNa AryAnI dRSTie khAmIvALo evo samapAda temaNe koI koI prasaMge banAvyo che. ApaNuM granthamAM 120 ane 29 mAM pahelo gaNa --ne badale -- no banelo che. 1* 319 ane 2* 14 mAM bIje gaNa - - 5 ne badale 0 0 0 no banelo che. A baMne sthaLoe je anuSkubhano samapAda samajIe to e pAda zAstrIya rIte zuddha lAge che. yAkobIe batAvyuM che ke pAMcamA gaNa pahelAnI zarUAtanI mAtrAo choDI daIe to samapAda viSamapAdanA jevo ja thAya che. koI koI vakhate, joke bhAgye ja, viSamapAda samapAdanA jevo banAvI devAya che. ApaNA granthamAM AvA be sthaLo cheH 1260 ( 4 ) - - - ....) ane 29a ( - ) - - | - - ...). AnAthI UlaTuM 1913mAM maLe che. emAM samapAdanI zarUAtanI mAtrAo khUTe che. 6 ApaNA granthanA 106 samapAdonA cokkasa AMkaDAo nIce pramANe che: 65, - - 15, - - 16, - - 8, 13mAM - - ane 113mAM anupalabdha.

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sthIrijA: 241 sama ane viSamapAdanuM mAnI lIdheluM ekasarakhApaNuM koIpaNa rIte tadana saMpUrNa nathI kAraNake bannemAM bIjA gaNanI rajUAtamAM noMdhapAtra taphAvata che. banne pAdomAM enuM mULa svarUpa - - - e pramANe che. taduparAMta viSamapAdamAM ApaNane anekavAra 0 0 - ane be vakhata -- maLe che. ane samapAdamAM kyAre ya - - nathI maLatAM paNa sAta vakhata - - - - eTale ke pahelA gaNa pachI yutivALo na gaNu je 4 gaNano niyata paryAya che te maLe che. ApaNuM 106 viSama ane 106 samapAdanA saMpUrNa AMkaDAo nIce pramANe che. viSama sama - 4 89 : - - 12 1 (24) aniyamita 2 (- - -, juo upara) 1 (2016) pazcAtakAlIna AryAnA bIjA ane chaThThA gaNamAM je bheda rahyo che te ja pramANeno bheda upara batAvelA sthaLomAM che, kAraNake prAcIna AryAnA bIjA ane chaThThA gaNe ane pazcAtakAlIna AryAnA bIjA ane chaThThA gaNuM eka sarakhA che. bAkInA badhA (1, 3, 5, 7) gaNamAM -- vadhu mAnItA che. koI koIvAra tene badale - vaparAyA che. bAkInA svarUpo kAM to svIkArAyAM nathI athavA eTalAM ochAM che ke granthanI zuddhatA mATe zaMkA utpanna karatAM nathI. pahelo gaNa trIje gaNa pAMcamo gaNa sAtamo gaNa aniyamita je ghaNI ochI ane sAcI aniyamitatAo maLe che temAMnI keTalIka to cokkasa granthanA pAThonI bhraSTatAne lIdhe che. 14, 168 ane 2-3mAM pAmo gaNa khAmIvALo (- 2) che; pahelA be sthaLomAM pAtALa ne pAsaLI ema kadAca vAMcavuM joIe. 193d kharekhara bhraSTa che. (juo TipaNa). 17dnA anta - - - - - - - (....zrAda) Ave che. 24mAM chaThTho gaNa - - - che, je ghaNo ja zaMkAspada che. ane 2016 taddana niyamita che jayAre granthanI zuddhi zaMkAne pAtra che. su0 gra0 16 For Private & Personal use. Only

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paMjaraH zrI mahAvIra jaina vidyAlaya suvarNa mahotsava sabhya grantha je mAyaraM ca piyaraM ca; vippajahAi puvvasaMjogaM / "go sagig risAma; ArameDULa vividhI" || 6 | suhumeNa taM parakamma channapaeNa ithio mNdaa| uvAya~ tAo jANi suH duTisaMti mitaqno | 2 ||. pAse bhisaM nisIyaMti; abhikkhaNaM posavattha parihiMti / kAyaM ahe vi daMsaMti; bAhumuddhaTTa kakkham aNuvvae // 3 // sayaNA''saNehi jogehi ithio egayA nimaMteMti / eyANi ceva se jANe; pAsA Ni virUva-rUvANi // 4 // no tAsu cakSu saMdhejjA; no vi ya sAhasaM samabhijANe / no saddhiyaM pi viharejjA; evamappA surakkhio hoi // 5 // Amantiya-ussaviyaM vA; bhikkhaM AyasA nimaMteMti / eyANi ceva se jANe sadALi viva-vALa || 6 || maNabaMdhaNehi Negehi kaluNaviNIyam uvagasittANaM / adu maMjulAi~ bhAsaMti; ANavayaMti bhinna-kahAhi // 7 // sIhaM jahA va kuNimeNa nibbhayam egacaraM ti pAseNa / ev-itthiyAo baMdhaMti; saMvuDaM egaIyam aNagAraM // 8 // bhASAMtara jene mATe maithuna baMdha thayuM che evo ane ekAMtanI icchAvALo huM ekalo, siddha (thaIne) pharIza" (ema vicAra karIne) je mAtA, pitA ane pUrva(kuTuMbonA saMbaMdhone choDI de che, evA-- (sAdhu)nI pAse mIThAbolI strIo kapaTapUrNa ane corapagale Ave che. teo (vA) upAyane jANe che jethI keTalAka sAdhuo lapasI jAya. (1-2) teo ekadama pAse (aDoaDa) bese che; vAraMvAra puruSonAM vastro pahere che; zarIrano nIceno bhAga batAve che ane hAtha UMco karatAM bagala... (3) koIkavAra strIo tene zayana--AsanarUpI yuktio dvArA AmaMtre che. teNe (sAdhue) A badhAne gaMdA (bhayaMkara) prakAranA pAza samajavA. (4) eNe te(strIomAM najara jevI nahi, ane temanA sAhasamAM saMmati paNa ApavI nahi; temanI sAthe pharavuM paNa nahi. Ama karavAthI e(sAdhu)nI jAta surakSita raheze. (5) AmaMtraNa ApIne ke khuzAmata karIne teo bhikSune potAnI jAta sope che. A (AmaMtraNa ke khuzAmatanA) zabdone teNe gaMdA (bhayaMkara) pAza samajavA. (6) athavA manane bAMdhanArA aneka upAyo dvArA dayAmaNI ane vinayapUrNa rIte (temanI) pAse jaIne mIThAM (vacana) bole che (ane) jAtajAtanI vAtacItothI ene potAne vaza thavA AjJA kare che. (7) ane pachI rathakAra jema nemine (nabhAve chetema teo tene dhIme dhIme namAve che. pAzathI baMdhAyelA haraNanI mAphaka te (chUTavA) phAMphAM mAre che paNa temAMthI chUTato nathI. (9)

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phathIrijA : 243 aha tattha puNo namayaMtI%B rahakArova nemim aNupuvvaM / baddhe mie va pAseNa; phaMdaMte na muccae tAhe // 9 // aha se'NutappaI pacchA; bhoccA pAyasaM va visa-missa / evaM vivegam AdAya; saMvAso na kappae davie // 10 // tamhA u vajjae itthI; visa-litaM va kaMTakaM naccA / mag La va6-1ra-; AghANa na sa vi nirake || ?? || je eyam uMcham aNu giddhA; annayarA hu te kusIlANaM / sutavassie vi se bhikkhU ; no viharejja sahaNam itthIsu // 12 // avi dhUyarAhi suNhAhi dhAihi aduva daasiihi| mahaIhi vA kumArIhi saMthava se na kujja aNagAre // 13 // adu nAiNaM ca suhiNaM vA; appiyaM dahu egayA hoi / "ddhiA, sattA jAdi; rAvaLa-vo majussoDasa !" 24 samaNaM pi da-udAsINaM; tattha vi tAva ege kuppaMti / bahu mohiM nahi; thI-To-vino ho7i | 1 / athavA nirbhaya ane ekalA pharanAra siMhane jema marelA pazuvaDe (loko bAMdhe che) tema strIo saMyamI ane ekalA pharanAra sAdhune pAlavaDe bAMdhe che. (8) pachI viSamizrita dUdhapAka khAIne (jema koI pastAya) tema te pAchaLathI paratAya che. e rIte ekAMta svIkArIne sAdhune (!) mATe (kuTuMba) sAtheno vAsa yogya nathI. (10) tethI (strIone) viSathI kharaDAyelA kAMTA jevI jANIne (temano) tyAga karavo joIe. je ojasvI chatAM kuTuMbane vazavartI rahenAra che te paNa nigraMtha kahevAto nathI. (11) jeo AvI bhikSAnA lobhI hoya che teo kuzIlo (kharAba cAritryavALA) paikInA ja keTalAka che. uttama tapa karanArA bhikSue paNa strIonI sAthe pharavuM nahi. (12) anAgAra (dhararahita) sAdhue (potAnI) putrIo ke putravadhUo, dhAtrIo ke dAsIo, moTI uMmaranI ke kuMvArIo sAthe paricaya na karavo. (13) (sAdhune strIo sAthe bhaLato joIne) sagAMvahAlAM tathA mitrone paNa koIkavAra mAThuM lAge che (ane kahe che ke-) he lobhI, vAsanAomAM Asakta ! tuM ya (sAmAnya) mANasa che--jo tuM (strIonuM rakSaNa ane poSaNa kare to. (14) udAsIna zramaNane paNa joIne keTalAka tenA para gusse thAya che. athavA (sAdhune) bhojana ApatI vakhate potAnI strIomAM (cAritrya) doSanI zaMkA kare che. (15) ja che ane na gamatuM joIne sagAMvahAlAM ke mitrone paNa ekAda vakhata (manamAM vicAra) thaI Ave che. A pramANe artha vadhu susaMgata lAge che. - anuvAdaka

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244 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha || 6 || vamaDhA samAhi-novaidika R Aya-hiyAeN saMnisejjAo missIbhAvaM patthuyA ege / vAyA vIriyaM kusIlANaM ! aha rahasammi dukkaDaM karei / " mAE mahAsaDheDacaM '' ti|| 28 // || z9 || 'vaMti maMthavuM tAhi ; tumhA samaNA na sameMti; bahave gihAi~ avahaddu; dhuva-maggam eva pavayaMti-; suddhaM ravaI parisAe; jAti NaM tahAvi viyA; saya~ dukkaDaM ca no vayai; Ai vikatthaI bAle / "eyALuvIr mA vAsI ''; cokhkhuMto ziArdU se mukhkho || 6 || usiyA viittha-posesu; paLA-samaSiyA vR-o; avi hatha-pA-chenAa; avi teyasA'bhitavaNA hU~; avu !-nAma-chenAa; ii ettha pAva-saMtattA; purisA itthi-veya-khedannA / nArINaM vasaM vasaM uvakasaMti // 2 // // 2 // mahuvA vardU-maMsa-31te / tacchiya khAra - siMcaNAI ca 4-2hetAM titiyaMti / na ca naMti " puLo na lAdaM'" ti // 22 // << samAdhiyogathI bhraSTa thai ne teo te(strI)o sAthe paricaya kare che" tethI zramaNo potAnA bhalA mATe strIo sAthe eka Asana para besatA nathI. (16) dhaNA dharomAM jAya che (?), keTalAka maithunanuM sevana kare che (ane chatAM) dhruvamArganI vAto kare che. vAto karavI e kharAba cAritryavALAonuM jora che*. (17) pariSadomAM pavitra (zabdonI) garjanA kare che, jyAre ekAMtamAM duSkRtyo kare che. chatAM ya DAhyA mANaso ene oLakhI kADhe che ke, " A dhutAro ane mahAna za che " * (18) ane jAte (potAnuM) duSkRtya kaheto nathI ane jyAre ene batAvavAmAM Ave che tyAre e nAdAna khaNagAM phUMke che, ane jyAre ene zikhAmaNa ApavAmAM Ave che ke " strI-vedano vicAra kara ane ema na karIza ' tyAre khUba glAni pAme che. (19) strIonuM poSaNa karavAnA anubhavavALA ane jeo strIvedane sArI rIte jANe che tevA puruSo paNa ane prajJAyukta paNa keTalAka (loko) strIone vaza thaI jAya che. (20) hAthapaganuM kApI nAkhavuM, athavA cAmaDI ke mAMsa UtaraDI nAkhavuM, agnimAM tapAvavuM ane dhAmAM kSAranuM siMcavuM. (21) ahIM athavA kAna ane nAkanuM kApavuM, gaLuM kApavuM----A badhuM (strIo) sahana kare che chatAM (A lokamAM) pApathI duHkhI thavA chatAM--" huM pharI nahi karuM " e pramANe teo kahetI nathI. (22) * vadhAre sAro artha : kharAba cAritryavALAonuM jora vANImAM hoya che. ( sarakhAvo H Si vIrya dvijJAnAm / ) - anuvAdaka

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thIrijA : 245 evaM pitA vadittANaM; aduvA kammuNA abakareMti / suyam eyam evam egesiM; itthI-vede vi ha suyakkhAyaM // 23 / / annaM maNeNa ciMteMti; vAyA annaM ca, kammuNA annaM / tamhA na saddahe bhikkhU ; bahu-mAyAo ithio naccA / / 24 / / juvaI samaNaM bUyA vi: "citt-alaMkAragANi prihittaa| virathA vari-mahuM TUhuM; dhaH mAphaka che, macaMtA" || 2 || mad sAviyA-vANa ; "gaMti sAHiLI 2 samari 1 2 jau-kuMbhe jahA uvajjoI saMvAse vidU vi sIejA // 26 // jau-kuMbhe joi-uvagUDhe; Asu'bhitatte nAsam uvayAi / / eva-itthiyAhi aNagArA; saMvAseNa nAsam uvayaMti || 27 ||. kuvaMti pAvagaM kamma; puTThA v.ege evam aahesu-| noDahuM zani vaM ti; "aM-mArUnI mama-g" tti | 28 || bAlassa maMdayaM biiyaM; jam avakaDaM avajANaI bhujjo / duguNaM karei se pAvaM; pUyaNa-kAmae vis-annesI // 29 / / saMlokaNijam aNagAraM; Aya-gayaM nimNtnnennaa''hu| . "valtha va, tAva! pAcaM vA; majaM vAna palarde!" ! rU0 | athavA (kadAca) tema kahIne paNa kArya dvArA pApanuM AcaraNa karaze. strIvedamAM je kharekhara kahevAyuM che te A pramANe keTalAke sAMbhaLyuM che. (23) (strIo) manathI ekano, vANuthI anyano, to vaLI karmathI anyano vicAra kare che; mATe strIone bahu kapaTavALI jANIne bhikSue emano vizvAsa karavo nahi. (24) yuvatI zramaNane ema paNa kahe ke : " jAtajAtanA alaMkArono tyAga karIne huM saMsArano tyAga karIza ane tapanuM AcaraNa karIza, he bhadaMta, mane dharmano upadeza Apo" (25) athavA zrAvikAnA bahAnA nIce "huM zramaNonI sahadharmacAriNI (sAthe dharmanuM AcaraNa karanArI) che ema kaheze). (strIo) sAthe rahevAthI vidvAna sAdhu paNa agni pAse rAkhavAmAM Avela lAkhanA dhaDAnI mAphaka nAza pAmaze. (26) agnithI gherAyelo ane tapelo lAkhano ghaDo jaladIthI nAza pAme che tema anagAro (sAdhuo) strIo sAthe rahevAthI nAza pAme che. (27) keTalAka (strIo sAthe) pApa karma kare che ane pUchavAmAM Ave tyAre A pramANe kahe che: "huM pApa karato nathI, A to mArA khoLAmAM sUtI che" (28) nAdAnanI mUrkhAI e che ke e potAnA duSkRtyane vAraMvAra nakAre che. A rIte bevaDuM pApa kare che. mAnanI kAmanAvALo che ane azuddhine Icche che. (29) dekhAvaDA sAdhune joIne potAnI jAtane arpatAM (keTalIka strIo) kahezeH "he tAta, vastra ke pAtra ke anna athavA pINAnuM grahaNa karo. (30)

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ra41 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha nIvAram eva bhujejA; no icche agAram AgaMtuM / vadhe viya-vase hi; moham mAtra puLo maLe che ? || (A pralobhanone) teNe mAtra nIvAra (Dukakarone lAlacamAM nAkhavA nIvAra vaparAya che) samajavA*. gharamAM AvavAnI IcchA karavI nahi, (kAraNake jo e tema karaze to) viSayanA pAzamAM baMdhAyelo te nAdAna pharIthI mohamAM paDaze. (31) * "teNe nIvAra ja khAvA" (muzleSmA = munIta) eTale ke jaMgalamAM ja rahevAnuM pasaMda karavuM. --anuvAdaka o racA na nA; mojAnI puLo vinA | bhoge samaNANa suNeha; jaha bhujaMti bhikkhuNo ege || 2 | aha taM tu bhedam AvannaM; mucchiyaM bhikkhaM kAma-m-aivaTTam / palibhiMdiyANa to pacchA; pAd-urdu muddhi pahaNaMti // 2 // "jai kesiyAe~ mAaeN; bhikkhU, no viharejja sahaNam itthIe / safor --mahuM hurissa; - tha ma jJAsi" ! re //. aha NaM se hoi uvaladdhe, to pesati thaaruuvehiN| "alAu-ccheda~ pAhehi; vaggu-phalAi~ AharAhi" tti // 4 // "dArUNi sAga-pAgAe; pajoo vA bhavissaI rAo / pAyANi me rayAvehi hi ja tA, je paTTam 34made || KI bhASAMtara makakama (sAdhue) kyAreya premamAM paDavuM nahi; je ene (viSaya) bhoganI kAmanA thAya to eNe karIthI vairAgya keLavavo. zramaNonA bhogo sAMbhaLo jethI (samajAya ke, keTalAka sAdhuo kevI rIte bhogo bhogave che. (1) - vAsanAthI gherAyelo koI mUrkha sAdhu jyAre (niyama) bhaMga kare che tyAre strI ane pachI Thapako Ape che ane paga UMcakIne mAthA para lAta mAre che. (2) je (mAthe) vALa hovAne kAraNe muja strI sAthe tuM nahi rahe to huM mArA vALano loca karIza; paNa mArA sivAya bIje kyAMya tuM rahI zakIza nahi." (3). pachI jayAre e hAthamAM AvI jAya che tyAre ene nIce pramANe kAme mokale che : "tumaDuM kocavAno (soyo) laI Ava; suMdara phaLo ANI Apa." (4) "zAkabhAjI rAMdhavA mATe athavA rAtre prakAza mATe lAkaDAM laI Ava; mArA paga raMgI Apa. Ava jarA mA baraDe coLI Apa." (5) WWW.jainelibrary.org

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itthIparinnA: 247 vatthANi me paDilehe hi; annaM pANaM ca AharAhi" tti / "gaMdhaM ca raoharaNaM ca; kAsavagaM ca samaNujANAhi" // 6 // adu " aMjaNiM alaMkAra; kukkayayaM ca me pycchaahi| loddhaM ca loddha-kusumaM ca; veNu-palAsiyaM ca guliyaM ca // 7 // kuTuM tagaraM agaruM ca; saMpiTaM samaM usIreNa / telaM muhA'bhiliMgAya; veNu-phalAi~ sannidhANAe // 8 // naMdIcuNNagAi~ paharAhi; chattovANahaM ca jANAhi / satthaM ca sUtra-chejjAe; ANIlaM vatthayaM rayAvehi // 9 // suphaNiM ca sAga-pAgAe; AmalagAi~ udagaharaNaM ca / tila-karaNim , aMjana-salAga; priMsu-vihUNayaM vijANehi // 10 // saMdAsagaM ca phaNihaM ca; sIhali-pAsagaM ca ANAhi / AdaMsagaM payacchAhiH daMta-pakkhAlaNaM pavesAhi // 11 // pUgAphala-taMbolaMca; sUI-suttagaM ca jANAhi / korsa ca moya-mehAe; suppa-ukkhalagaM ca khAragalaNaM ca // 12 // mArAM vastronI kALajI rAkha; khorAka ane pANI, sugaMdhi dravyo ane (sAksaphI mATe) pIMchI sApI mA5; sane bhane hajama pAse pAhe." (8) AthavA " bhane bhaizanI 44.4ii, 24, pI! (?) (AyaTI) dono pA172 2mane dobasa, vepasAsi mane gogA sAvI // 5." (7) "kuSTha, tagara(-bhUkI) ane vALAnI sAthe pIseluM agara, moDhe lagADavA mATe tela, ane A badhI (vastuo) bhUpA mATe vAMsanAM nAnA masAvI // 5." (8) "mane oTha raMgavAno pAvaDara, chatrI, jela, ane zAka samAravAnI charI lAvI Apa. mArAM vastrone bhUrA 0 25." (e) zAkabhAjI rAMdhavAnuM vAsaNa, AmaLAM, pANI bharavAnAM vAsaNo, cAMllo karavAnI saLI, meMza AMjavAnI saLI ane paMkho lAvI Apa." (10). "(vALa kheMcI kADhavA mATe) cIpIora, kAMsako ane vALa bAMdhavAnI rIbana lAvI Apa. arIso sAra bhane hAta-potarI mAzI // 5." (21) sopArI ane pAna tathA soya-doro lAvI Apa. pezAba karavAnuM vAsaNa, supaDuM ane UkhaLa sane bhArI gANavAnuvAsarA sAvI A5." (12) 1 "gaLI karI Apa" gaLI karavAno rivAja te samaye haze kharo ? --anuvAdaka 2 rAdhAbhA 15satI 'sAsA' ko artha 55 yogya mAge cha, ---anuvAda

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ra48 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava cantha vaMdAlagaM ca karagaM ca vaccagharaM ca, Auso, khaNAhi / sarapAdagaM ca jAyAe; . gorahagaM ca sAmaNerAe ghaDigaM ca sa-DiMDimayaM ca; cela-golaM kumAra-bhUyAe / vAsaM samabhiyAvannaM; AvasahaM ca jANa bhattaM ca // 14 / / AsaMdiyaM ca nava-suttaM; pAullAi~ sNkm-atttthaae|" adu putta-dohal atthAe; ANappA havaMti dAsA va // 15 // "jAe phale samuppanna geNhasu vA NaM ahavA jhaahi"| aha putta-posiNo ege; bhAra-vahA havaMti uTTA va rAo vi uThiyA saMtA; dAragaM saMThavaMti dhAI va / suhirImaNA vi te saMtA; vattha-dhovA havaMti haMsA va pUrva vaMdUDhi -puSaM; mo-mathAuM ne miyAtrA | dAse mie va pese vA; pasu-bhUe va se na vA keI // 18 // caM hu tAvejaH; dvAd saMya vajhA | taja-jAiyA ime kAmA; vajJa-TI , gvama mAvAyA ! 11 || "(pUjA mATe) tAmrapAtra ane karavaDo lAvI Apa. maherabAna ! daTaNuM jAjaru khoda. (ApaNA) putra mATe dhanuSa ane nAnakaDA zramaNa mATe baLadagADuM lAva." (13) nAnakaDI Dola, nagAruM ane cIMtharAne do ApaNuM kuMvarasAheba mATe lAva. varSARtu AvI rahI che; makAnanI ane anAjanI tapAsa kara." (14) khurazIne navI pATI lagADa, cAlavA mATe pAvaDIo lAva.vaLI putra meLavavA mATe) garbhiNI strInA dohadanI pUrti mATe temane nokarInI mAphaka hukama karavAmAM Ave che: (15) "(ApaNA jIvananA phaLarUpe putra utpanna thayo che. have eno svIkAra kara, ke tamArI pAse) choDI de." have keTalAka putranuM poSaNa kare che. teo UMTanI mAphaka bhAra vahe che. (16) rAtre paNa UThIne dhoInI mAphaka chokarAne UMghADe che. khUba zarama AvavA chatAM teo dhobInI mAphaka lUgaDAM dhue che. (17) bhoga bhogavatA je upAdhimAM paDyA che evA anekoe upara pramANe karyuM che. evA loko gulAma jevA, pazu jevA, nokara jevA, jAnavara jevA ke pachI kaMI ja nahi evA hoya che. (18) A rItanuM strIonuM vaitaruM, sahavAsa ane paricaya (e badhAMno) tyAga karavo joIe. (kAraNake) ema kahevAya che ke A badhI vAsanAo emanAmAMthI utpanna thAya che ane varya karma karAve che. (19) 3 ghA = vagADavAnI ghaDiyALa, ane mi = ene vagADavAno dAMDIo (na nI mogarI) e artha abhipreta lAge che. -anuvAdaka 4 akSaraza -"navI pATIvALI khurazI lAva." -anuvAdaka

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itthIparinnA : 249 " eyaM bhayaM, na seyAya"; ii se appagaM niruubhittaa| no itthI, no pasu bhikkhU ; no saya~ pANiNA nilijjejA // 20 // suvisuddha-lese mehAvI; para-kiriyaM ca vajjae NANI / maNasA vayasA kAraNa savva-phAse saheja aNagAre // 21 // icc-evam Ahu se vIre; dhuya-rAe dhuya-mohe se bhikkhU / tamhA ajjhatta-visuddhe; AmokkhAe parivvaejAsi, tti bemi // 22 // "A bhaya che ane e kalyANakArI nathI" ema mAnIne potAnI jAtane kAbUmAM rAkhIne, sAdhue strIne : (strItIya) 5zune potAnI jatane lAyathA 14 nali. (20) atyanta vizuddha cAritryavALA, buddhimAna ane jJAnI evA eNe pArakAMnA kAmo varSa karavAM. ane mana, vacana ane karmathI badhA pAzo sahana karavA. (21) jeNe rAga ane moha choDI dIdhA che evA (mahA) vIra sAdhue A pramANe kahyuM che. tethI tame (paNa) mokSa prApta thatAM sudhI pavitra AtmAvALA thaIne pharo. A pramANe huM kahuM chuM. (22) Critical Apparatus-samIkSA sAmagrI (1) 1b jahAya 10, pai0,0, (20 : 'vipradhAya'). ___d vivittesudI0 (pATha 0ttesI) vai0, 0 (ttesI sa080). 2a parikkammI0 (5TI-parAkramya) 10,0 parikammA 70 b itthIo hai. c uvvAyaM pi tAu (mudrakoSa-tADa) jANaMsu : TI0, vai0; uvAyaM pi tAu jANaMsu : 0; (jANiMsu ma070) jANaMti tA __uvAyaM ca : 50 (10 ane vai0nA uvvAyaM ! mane anapekSita mayatana35 jANiMsu se ye pAhona mane vyA329nI daSTie vyavasthita karavAno cokho prayatna) d jahA : TI0, vai0, 0, yU0 3c adhividaMseMti : yU0 d bAhU udeg 10, vai0, .. bAhu udeg : yU0 bAhuddha :40 (bAhumu : sa0). abhuvvaje : 00; aNuvvaje :... 4b iyAMo : 0; itthI yU0 nimaMtaMti : TI0,0, (degti : yU0). 5a tAsa : yU0 b (samanujAnIyAt : yU0). c sahiyaM : 10, vai0, 0; sajjhiyaM : yU0 (saddhiyaM : 25040). d appA rakhittu seu : yU0 6a urasaviyA bhi' : TI0, vai0, degya mi : . (urasaviyaM vA 2040); osaviyaM vA mane osaviyANaM : yU0 b nimaMtati : TI0,0, teti yU0 c jANi : yU0

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rapa0 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava ratha id ANavAyaMti : hai0 AmatitenaM : 50 8a jahA ca : hai. evaMtthiyAu : 00 evaMtthiyAo : hai. evitthiyA yU0 egatiyaM : TI0, 0, egaiyaM vai0 9a namayaMti : hai0, yU0 bNemi ANuputvIe : TI0, vai0, Nemi aNupunvI : 10, 0 / c baddho : vai0 phaMdate bi : TI. vai0,0, muccatI : 250; tAhi : . * 10a 'tappaDa : 10, Dai0 sa NutapyatI : 20 c vivAgam aNissA... ... . 'vivega iti cet bhavati ......."evaM vivegam AtAta : yU0; AyAya : vai0 d na vi kadeg : 20, 20, 0; na kadeg : 100, saMvAso na kalpate : yU0 11b littaM ca :.. c oye : 20; ue : chai0; kulANi : TI0, vai0,0, 50 d AghAte : TI0, 0, degti : yU0 12a eyam uMchaM : 10, vai0, 0 evam icchaM : yU0 annayarA hoti ku : vai0 annayarA huMti kudeg : 10,. aNNayarA u te kudeg : yU0 d vihare sahadeg : dI0, 10,.. 13a rAhiM : yU0 bdhAtIhiM : TI0, hai. c mahatIhi : TI0,0; mahallIhiM : yU0 d se ne : sa0,0 14a NAINaM : hai; au nAtINaM ca suhINaM ca : yU0 suhINaM vA : 10, 10, .. _b egatA hoti : 210; hoMti : hai| 15a pi : 210mA nathA. yU0 pATha : udAsINiM. c aduvA : 10, 20, 0; aha vA : 10 (yU0 adu bho'). ddegdosaM saM : 10, 20, 0 (dosasaMdeg : yU0). 16cd 50 TI0ko 54 : tamhA samaNA u jahAhi ahitAo sannisejjAo. __d saMnisejjAe : 500 17a gihANi yU0 b (patthuyA ege : 200,70), patthuyA ya ege : 0,10, patthuyA (paNatA) ya ege:0; paNNatA : sA0 paNhayA : yU0. c eva bhAsiMsuH nyU0 18a ravati: 20, 20, 50 b rahasammi: 10, vai0,0, 20 kAtiH 10, 10, 0 kuNatiH sa0 kareMti mana karei tti: 50 ctahAvihA : TI0, viyA :..; degvidA : 40 degviU : pe0, vetA ("tathA vedA jAnanti"): 20. 20, 240 sa bhA 'tathAvidasa'ne mahale 'tathAvedAsa' 54 mAcha. 19a na vaya: 30; na vadati : TI0,0; saya dukkara avadate : 20 b vi pakadeg : 30 vi pakatthatiH 10,0 c bedAnuvIyI : 20 20a osiyA:TI0, vai0,hai. (usiyA : 2070) usitA......posehiM : 20 b kheyannA : 10, 30 d uvaNAmati : 20

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itthIparinnA : 251 21a adu hatthadeg 50 pAyacheyAe : 30; chedAe : TI0 cchedAya : hai. c au tedeg : yU0 deghitavaNAI : 10 degbhitAvaNANi : TI0, 20,.. d bhatthiya khA: 20degNAI ya : 10 22a 'nAsacheyaM : 10; degNAsacchedaM : TI0, 0; degnAsiyAchejja : 40; NAsacchejja : 40 b titikkhaMtI : TI0; tiikkhatI : 10 c iti : TI0, 50,0mAM salA. d na veti : 10; kAhiMti : 10, 20,0 23a eyaM........."vaittANaM : 20 b aha puNa kammuNA : yU0 c suyamevaM yU0 sutam etam evam : TI0,.. d vede ti hu: 200, 0; veya tti hu : 20; vede vi hu : 240; vede ve hu : 24a ciMteti : 10,. b annaM vAyAi : 50 25a bUyA ya : 50; degyAo70 bdegkAravatthagANi : 20, 10, .. c rukkhaM : TI0, bai0, 0; lUDa: 60 moNaM : 10 (lUhaM : 20) 26a pavAdeNa : 20 ____b aham asi : TI0, vai0,0 d viU vi : 10 27d nAsaNam uti : 10 28b AhiMsu : dI0, 10, 0 (O0 : Aisyuriti) __C nAhaM : 20 29a bitiyaM : 20; bIyaM : TI0, 10,0 bjaM ca kaDaM adeg 10, vai0,0 8. kAmo : 10, 20, 0 (kAmae : 27080). 30b degtaNeNAhaMsuTI0, 10, 0; AhaMsu tti Ahu : 50 _c vaTuM ca tAi : 0,10; ca tAya : 0; ca tAti pAtaM : 50 31a evaM : TI0, 20, 0 (eva : 50). ____b agAram AgaMtuM iti agAratvaM athavA AgAram AvattaM : yU0; agAram avA, ti pAThAMtara saMbhavaH : sA. c visayadAmehiM : 20 d Avajjati.......... maMdo : 20 AgacchatI: 40 1a yU0; sadA... jja; b0: ja ya0 : bhoge saNNANa. 2a 250 : taM du; vai0 : bheyaM byU0 : kAmesu atiaTTam c yU0 : diyANa; d 20 muddhaNi pahaNati

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ra5ra : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thaW 3a 10,,80 : kesiyA NaM mae bhi0 (yU0 : kesiyAe mae bhi); 40, 60 : kesiyA mae b10, 0.0: vihare (yU0 : rejja) ca: kesANavi hA vai0, 0 : kesANavi hai; 240, 50; kesANi viha; 20: kese vi ahaM; 240, 70 : degcisu. 4a00:sa hoi 10 10, .. degladdho (20 : degddhe). b20 : tato NaM deseti; sa0 : peseti; 60 : paMsaMti cao, 10, 0 : cchedaM; pai0 : ccheya; d yU : degphalANi 5a 50 : dArugANi aNNapANA yA; b yU.: degssati ca,0, 20 : pAtANi ya me; 0 : pAyANi ya me dao, 10, 0 : ehi tA me piTTha omadde; yU0 : ehi ato me paTTi ummAhe (200, 40 : ehi ya tA) 6a ao, vai0, 20 : degNi ya me; . b20: aNNapANaM vA Ahaehi,..: degNa Aha; sA0 : gaMthaM iti syAt pAThAntaram / 20: gaMthaM, gaMdhaM manne bhaNe cha; 50 raNaM vA; dao, vai0, 0 : degvagaM ca me sa (250, 40 me hI nAme che.) 7a 20 : au; balo : kukkuiyaM; 250 : kukkuhayaM; 80 : kukukayaM; 20 : kukuhama; 10, vai0, 0, yU0 : ca dI nANe cha; c.0 : loiM ca lodda; d0 : veludeg. 8a 20 : koTTaM TI0, vai0, Dai0 : tagaraM ca agalaM; sa0, 40, tagaraM ca agaraM ca (yU0 : tagaraM agaraM ca) ba., vai0, 10 : samma u'; a0 : saha udeg (yU0 : samaM u) vai0 : muhamijAe; 0 0 : muhabhijAe; 240 : muhabhiliMgAe. 70 : musiliMgAe; sA0 : muhabhiMDalijAe; 2.: muhabhilaMgAya d yU0 : velu0; 20 : saMnihANAe 9a 10, pai0, 20, yU0 : pAharAhi; 10 : pahideg (50 : paha) cao,vai0, 0: degcchejjAe; 50 : cchedAe d l0, 10, De0 : ANIlaM ca va 10a .: suphaNitaM sAgapAtAe bhane sUvapAtAe bTI., vai0, ..: dagahAraNaM, yU0 : dagaharaNI bhane dagadhAraNA c ,vai0,0: tilagakara, yUtilakaraNim aMjani sa dao,0,.: priMsu me vi., yU.: piMsuriti gimhAsu mama.......: bisi. 11b : ANAhi sAhalipAsagaMca; yU0 : sehadeg bhane sIha yU0 : AtaMsa 12a 10 0 : pUyaphalaM taMbolayaM; vai0 : pUga bolayaM; TI0, 30, 20 : ca dI nAme cha (50 : pUyAphalataMbolaM ca mane pUyAphalagrahaNAt ....) b50 : sUiM jANAhi suttagaM; d0, 00 : khAragAlaNaM (yU0 : 'galaNaM); sa0 : goragalaNoe 13a 10,0, 20, 50 : caMdA; I zu0 5 54ne anusa . cao, 10 : sarapAyagaM, De0 : sarapAyaM. 14a yU. : ghaDikammehi DiMDimaeNaM; c240: vAsaM samaNAhiAva'; 20 : vAsaM imaM samabhiAdeg d 20 : AvasahaM jANAhi bha /

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rUrijA H 253 15c cU0 : bha3; ao: purasa doha; d TI, vai0, ha0 : trAsa vA. 166 I : va aa (20 : isa te di i iva vi) c TIha0 : mahuM pu; d 20 : mAravA mavati 3DhA . 17: TI. vai0 hai : sudirA cUTa didegi (aITa : sudiradeg) 18a hai0 : laideg; cU0 : 8 c TI hai0 : miva (a. I. : maNa 4), ca0 : varase vAra d TIhe : maMtava; : mUta. 198 TI. vai0 hai0 : ivaM (paraMtu TI. nI TIkAmAM tattva ane a0 I: paDyuM!) 20 : parva ane yaM; TI. vai0 hai ? vinnai, cU0 : tAri vaiduM ane vera b TI. vai0 hai : saMvaM saMvAe c TI. vai0 hai: 3 vaNAi (paNa TInI TIkAmAM aAvyAtA a0, IDa : mAyA), 202 10H mayaUT; checU0 : kRtyi; d TI : saya 21a cUTa : ; d TI. vai0 he : saraphe maLadeg 22b TI. dhumaraNa putra; vai0 : dhucaray; he. ghUmaraNa dhUma a0 : pUtaraNa d TI. vai. hai0 : suvimuke mAmo sAva : vi yAmuvA; hai0 : parivAnAsi pachI kasamAM vire mAmuThThAi umere che. TippaNa (1) (yA: yAkobI zuH zubriga) 1b paraMparA pramANe vidhvanahAya e saMbaMdhaka bhUtakRdaMta che. tethI "ne' thI zarU thatA gauNa vAkayamAM mukhya kriyApada AvatuM nathI. vinahAra (vikajJAti) ema sudhAravAthI kriyApada maLI jAya che. ya nI dR karavI e mAtra joDaNIne ja prazna che. * TIkAkAro pharamAve che (ane anuvAdako ravIkAre che) ke di no artha sahitI phana-Tuna-grAri, sva vA hitaH tiH (20 : sahita nA hiM; mAtamane vA hita: svataH)- e pramANe kare che. paNa A prakAranA vaikalpika vyAkhyAno emanI lAcArI sUcave che. mAruM sUcana che ke igi (athavA vadhAre sAruM--g - varagi ?) eTale ke sAhitaH ema vAMcavuM. Ama karavAthI AgaLa AvelA che no artha samarthita thAya che. ane granthamAM sAdhune ekalA ane ekAMtamAM rahevA mATe je vAraMvAra Agraha karavAmAM Avyo che tenI sAthe e artha baMdha bese che. tA. 11-1-65 nA patramAM proAlsaoNrDa lakhe che ke uparanuM sUcana "hag = () sapTa barobara nathI. zubiMganI mAphaka "siddha" evo artha karavo. carcA mATe juo: praoN. AlsaDaoN sattara-sAya studies, InDo-irAniyana jarnala, 6-2, pR0 121. 26 zIlAMka ane ca0 maMdra ne tatsama gaNe che (je artha nIce AgaLa maLe che), mAtra A pramANe bhASAMtara kare che : "game tevI mUrkha hoya to paNa strIo nipuNa bahAnAo dvArA tenI pAse jAya che." paNa A artha saMtoSajanaka nathI. A anuvAdane sudhAratAM zu maMA no artha "kharAba IrAdAthI ema kare che. mevAno artha ahIM mundrA thAya che emAM mane jarAya zaMkA nathI. TIkAkArone A zabdanA prAcIna (vaidika) arthanI khabara nahotI. tethI mandra zabdanA prAcIna arthanA ajJAnane lIdhe-mundramAAna zabdanuM pAlImAM "tamALI" evA khoTo anuvAda thayo che. (juo yujharsa: Bemerkungen uber die sprache des buddhistischen Urkanons $ 167).

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54 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha 3a mitraM = papadam evo zIlAMkano anuvAda yogya che. pokSa (pauSa - utsava, rajA ?) no artha saMdigdha che. TIkAkAro eno artha poSaka ' eTale premane poSe evAM' evo kare che te sthita vahIna che. proM saoN emanA 11-1-65nA patramAM posano vizeSa khulAso karatAM jaNAve che ke pola = puruSa, vosa zabda ardhamAgadhImAM sacavAyo nathI, paNa e jarUra prAcIna pAlI rUpa che. te pAlImAM sAro rIte samarthita thayeluM che, d (- ne bAle - - khUma Avato) khaMtu batAve che ke blokane aMte pATha khoTo che tethI saMtoSakAraka artha azakaya bane che. [cA~ jethI te temanI pAchaLa jAya (anuvvane !) zu0--"(temanA vastra) khabhA sudhI paDe che.] beljiyamanA bhAratIya vidyAnA niSNAta DaoN phaeNloMca (Deleu) A pAdane jhumuhadu dhamajIyAra ema samajI na = nIya (saM. jyati) ema ghaTAne che. paN Nu sAthe A rUpa jANItuM nathI). Ano artha Ama thAya : teo hAtha UMcA kare che ane bagalane paMkho nAkhe che." Ama chatAM mane avINa e rUpa aspaSTa ja rahe che. ** - 4d vittva no arthe paraMparA ane anuvAdo pramANe 'jAtajAtanA, bhAtabhAtanA' evo che. paNa A ja prakAranI paMkti 6 c-d mAM A ja pramANenuM bASAMtara agharuM bane che. tyAre AsanaLakomAM ApelA kharAba, kutsita, viruddha, pratikala' A artho uparathI virUpa = '' gaMdA, kharAba, bhayaMkara'' evo artha baMne saMdarbhomAM barobara ghaTaze. AyariMga 2-3-8 vamAM vihAra karanArA sAdhu mATe varjya karavAnA bhayaMkara zonA vizeSaNa tarIke citratAdhi vaparAyuM che, tyAM paNa A ja artha che. che 6a raviyA pATha svIkArIzuM to e saM. bhU. kRdaMto thaze. paNa paraMparA degviyam pAThanI tarapheNamAM che. d satta zabdo sAmAnya rIte bIna viSayonuM upalakSaNa che (thA nI pAdarIpa) evuM mAnavAnI jarAca jara nathI. 7d 20 : mevAro | mitranA DI. - nipayAmAM yAna dharmayunIrvaoNni| A baMne vyAkhyAo nirAdhAra che. saMskRta misra zabdano athai 'khullA, vistRta'. pANInA sabamAM mukta vahevALuM, dhasamasatuM " ityAdi thaI zake che. A jAtano artha pANInA vizeSaNa mATe tadna aprastuta nahiM gaNAya. ALavati no artha alabatta Apati thAya. ane 20, TI. tathA yA e pramANe ja kare che. navamA zlokamAM pakAranI upamA sAthe nAduno prayoga batAve che ke zuM eno gAmamAMta (ane potAne mATe namAve che) evo artha kare che te barobara che. 8.9 A baMne zlokono krama maiM kAmacalAu bakSI nAkhyo che. AnAthI temAM AvelA bALapacAsanohAmAM AvelA namayaMti sAthe sIdho saMbaMdha thAya che eTaluM ja nahiM, paraMtu sAthe sAthe jALamAM phasAyelA siMhanI upamAne *sAyelA haraNanI upamA pachI tarata ANI de che. tethI 8amAM AvelA nanhA haiM (= vA) nuM samarthana thAya che. 9 prAkRta anupuchyuM ane anupuranA jevA saMskRtamAM paNa e ja arthanA anupUrvam ane AnupUryA evA e kriyAvizeSaNo che. paraMparA chaMdathI viruddha jaIne AnuputhvI svIkAre che; jyAre chaMdanI dRSTie aNupujyaM niHsaMdeha vadhu baMdha bese che. 'hai ' ane ' a0 'no ALuputhvI pATha kadAca mULa pAThano aMza jALavato lAge che. 9 8d we ft (= utta) ne deg (=aSi) ema sudhAravAnuM pralobhana strAbhArvika rIte thAya che. ca ta mATe vArSa, paraMparA ) sarakhAvoH pAlI-vAviyo (ce0 gA0 1,541) ' 10Na ninAmA A pATha niHsaMtaeNta bhraSTa che. (cA A pATha vIkAre che. pariNAmono vicAra karIne '') pazu vive zabdano paNa zu. khoTo artha kare che. teo eno * nirNaya, viveka ' evo sAmAnya artha kare che, 20 no pATha vivAna zammA (= -Sya) ano sAco artha spaSTa rIte batAve che. 18 mAM AvelA vivittAnuM e samAMtarUpa che. *nina pachInA pAThamAM AvelA saMyAnuM niddhArthaka che. sarakhAyo ! pAkSI zloka (cai gA0 2 ane 233) : da kursa pokilam usI pamjam / urasA panudarasAmi vivekamanugRham // : tu zu nuM bhASAMtara viSpa (pU0 145, DIpa 8) pAne anusare che; paN dra bhArarvaka 'vi'nuM dRIkaraNa icche che ane a, I, ne cUmAM e dUra karAyo che. vaNa mAM saptamI (f) jarA zaMkApUrNa che, eno cokkasa artha zakya nathI. 110 Ai (sarakhAvo muhanI spAyArAMganI spAdananI zabdAnukramaNI)ne cU A pramANe samaje che bono nAma 2o-hito; TI 1 jAvaH sao 2, 12 mAM zU potAnI vyAkhyAnI punarAvana kare che. ane TI A vakhate enA sAthe saMmata thAya che. saMskRtamAM paNa evuM vizeSaNa jANyAmAM nathI, paNa gAyatta ane niSTha evA tatsamavAcaka rUpo uparathI enuM anumAna karavuM joI e. vuALano // evo zuno sudhAro kharekhara anivArya che.

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5 ApaNe zake tevuM : Buddh. di aMtavA parijA H 255 d mAghAi 20, TI. ane anuvAdako ene mAravyAti e pramANe 350, e0, vaha samajAve che ane "te upadeza kare che? evo artha kare che. paNa "mAthA'no Avo artha nathI. mAvAi eTale mAthAtaH emAM mane jarAya zaMkA nathI. 122 anune vaMzam ema dvitIyA sAthe jatuM karmapravacanIya samajI "3Aju ddhiA " ema be zabdo chUTA lakhavA e jarUranuM che. yA3no artha "pApI (saMbaMdha)" evo kare che. ane zuka "kacaro' (noMdhaH "A strIone lAgu paDe che") evo artha kare che. pAlImAM 3chAno artha jaMgalamAM munioe bhegAM karelAM phaLa ane mULa evo thAya che dA. ta., jAtaka IV pR0 23 : 3cha-chA-di vAto jAtaka. 50 7,18 : TvsAruM varitrAna vanamuMchAya pAviti tha0 gA0 1, 155 ane Pv. IV 7 mAM 3jIpattAte hato (bhikSApAtramAM je kaMI Ave tenAthI saMtoSI) evuM vacana che. ane Pv paranI TIkA ahIM ene uchena sivArena raddhe vattAte mahAre to ' e rIte samajAve che. A rIte e zabdano artha "dAna thAya che. ane AcArAMga 2.3.1.2 mAM viSNu athavA mitra nA paryAya tarIke vaparAya che. A phakarAmAM amuka gAma ke nagarane comAsu gALavA mATe ayogya TharAvanArI zaratonI gaNatarI karavAmAM AvI che : no sume guNa che maheLe. yA. AnuM "je sahelAithI na meLavI zakAya. zuddha, svIkArya dAna" e pramANe sAcuM bhASAMtara kare che. b TI, va, hai0mAM chaMdanI daSTie azuddha pATha; cU0mAM zuddha; A baMne pATho vacce chaMdanI dRSTie sAcA samAdhAnanA prayatna karyo che. d paraMparAe sarvAnumate svIkArelo "vida' e pATha chaMdanI daSTie khoTo che. ene 2, 3b uparathI zuddha karavA joIe. tyAM cU0 vidattA Ape che. baMne pAThamAM Avato sa (saDha wi?) pATha zaMkAspada rahe che. game tema sAthe' e arthavALA zabdanI sAthe ApaNe saMsamInI nahi paNa tRtIyAnI AzA rAkhI zakIe. have 2, 3 b mAM AveluM pallIpa A banne vibhakti mATe cAlI zake tevuM che. 1, 12 d mAM AvelA "tya' mATe yuDarsa (Bemerkungen uber die sparche des buddh. Urkanons, $ 220-225) kahe che ke- prAcIna pUvaya prAkRtamAM saptamI ane tRtIyA bahuvacananA (baMnemAM--ddhi aMtavALA) ekasarakhA rUpo hovAthI pAlI tema ja bauddha saMskRtamAM-hi aMtavALA tRtIyAnA prAcIna rUpane bhUlathI--g/pu evA saptamInAM rUpo tarIke badalI nAkhyA che. tyA- je mAtra bhUla na hoya to--te upara jaNAvyA mujaba samajAvI zakAya. sarakhAvo pizelanuM vyAkaraNa 6 371 ane 376, ahIM (tRtIyAne satamInA arthamAM ghaTAvAno) UlaTo goTALo noMdhyo che. 138 zuka "(gharanI) putrIo ane putravadhUo sAthe" ema anuvAda kare che. ane noMdha kare che ke "alabatta, enI potAnI nahi (SBE 45. 273)!" huM mAnuM chuM ke zu0 nI noMdha jene lAgu paDe che ane cUra TI. sAthe saMmata che evuM yA nuM bhASAMtara taddana sAcuM hatuM. cUTa "nAminimizca nazyAmavo mata / vavAniAndriyagrAma Ditra mAtA A zloka TAMke che. jyAre TI. samajAve che ke-bhikSu jAte bhale zuddha rahI zake, paraMtu bIjAo ene mATe zaMkA karaze. AvI sthiti dUra karavI joIe. A daSTibiMdu para pachInA zlokomAM bhAra mukavAmAM na Avyo che. 14-16 A zlokonuM zue kareluM taddana juduM vyAkhyAna mAre gaLe UtaratuM nathI. joke, mAro potAno prayatna paNa haMmezA saphaLa nIvaDe che ema paNa cokkasa rIte kahI zakuM nahi. 14: yA nuM bhASAMtara--"badhA prANIo kAmamAM Asakta che." sara ne artha sarave nahi paNa saMgha (athavA "Aratta = mAvata ?) samajavAnuM huM zu nI mAphaka pasaMda karuM chuM. ane "mA"kArAnta rUpo(AM , sattA)ne 2d mAM AvelA bIjA puruSa eka va0nA ti' sAthe saMbaMdha dharAvatA saMbodhananA rUpo samajavAnuM pasaMda karuM chuM. 'd' no artha zaMkAspada rahe che. "tuM mANasa chuM. te(strI)nuM rakSaNa ane poSaNa kara." evuM cAnuM bhASAMtara TI ne AdhAre che. TI. ane 20 majumsa ne "nokara" evA arthamAM eTale ke "puruSa'nA paryAya tarIke samajatA lAge che. kadAca gusse thayelo gRhastha sAdhune sUcavato haze ke strIone maLavA karatAM ane emaNe ApelI bhikSA khAvA karatAM sAdhue potAnA strIvarganuM rakSaNa ane poSaNa na karavuM? sarakhAvo: sUyagaDa 1.3.2.2 vagere. A zlokomAM sAdhune kuTuMbamAM pAchA AvavA lalacAvatA sagAMvahAlAMo, sagAMvahAlAMnuM poSaNa karavAnI tenI laukika ( 5) pharaja viSe vAraMvAra dabANa kare che. ("posa che, tAva.."; "mAcare piyara posa'; "puttA te, tAya, huDu" ityAdi.)

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256 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava pratha 15a soLa- nauMpa, taTatha". kSiA samaye strIo sAthe je zuddha khAcaraNa kare che tevA sAdhu A pramANe oLakhAya che. 16ab A zabdo 15mAM ullekhAyelA nA hoI zakavAnI kadAca zakayatA che, joke, ema chAtI ThokIne kahevAnI jarUra nathI. zu0 160d mATe paNa tema ja mAne che, paNa emano anuvAda mArImacaDIne karelo lAge che. huM mAnuM chuM ke AA uttarArdhamAM AA prakaraNanA kartAno Adeza samAyelo che ema levuM e badhAre zakya che. 6 16d saMnniSnA no anuvAda zu eka pradezamAM' ema kare che. paNa teno artha " eka ja Asana para joDAjoDa besavuM " ema vadhu akSarazaH levo joI e. uttarA016mAM brahmacarya pAlana karavA mATe (kaMmattera-ttAAiLA) darA niyamo gaNAve che, temAMnA pahelA cha A pramANe che : ', (1) suvA-besavA mATe ekAMta zvAnano upayoga (viviAda yAsa; cAnuM judAjudA evuM bhASAMtara banAve che ke teo 'vicArUM' evo khoTo pATha anusare che.) ane nahiM ke 'jyAM strIo, pazuo ke maMDho vAraMvAra AvatA-jatA hoya taiyAM Ano che. (ra) sIo saMbaMdhI yAda na karavI. (3) nA prtyAnaM saddhi sannitajJA-ha vittiya (4) strIonA lAvaNya ke saundaryanuM darzana na karavuM. (5) paDadA ke dIvAla pAchaLa UbhelI strIonA hasavAnA ke bIjA prakAranA judA judA avAjo na sAMbhaLavA. (6) bhUtakALamAM anubhavelA viSayasukhonuM smaraNa na karavuM. A yAdImAM khAsa karIne naM0 (1) pachI 'sannisennA"no " eka ja pradezamAM ' evo vadhAre vyApaka artha bhAgye ja laI zakAya. " eka ja Asana para ' ema vadhAre saMkucita arthamAM ja e zabda samajavo eIe, "o sAthe eka Asana para besavuM nahiM e" evuM cAnuM bhASAMtara nizcita cAluM che. samavAyAM AvelA saMbhoganA sabhyo aMgenI bAra TomAM paNa A ja artha jaNAya che. History of Jaina Monachism, pU. 152 upara esa- bI deba A pramANe samAve che: "(11) tripti eka ra phre saMbhoga '(?)nA bIjA AcArya sAthe dhArmika bAbatonI carcA karatI vakhate eka ja Asana para besavuM te. * 17ab A paMktino anvaya * (cayaeN...avada...pakSuvA po), TUMkamAM kahIe to, paNo ja zipila che. zu ane Ine anusaranuM yA nuM bhASAMtara Ama che : " viSe ghaNA loko para choDe che chatAM (temAMnA) keTalAka ja harSa ane sAdhunI) vacalI avasthAne prApta kare che. * rInA kathA mujaba vadave no A ricaya karavo ke asaMgata che. zuM te A samAyuM che. chatAM emanuM meM bhASAMtara = * dhaNA (sAdhuo) (Ne 6) (keTalAMka) dharone vaLagI rahyA che ", gaLe Utare evuM nathI, macaMdra (4.162) pramANe dara be mahat no pAyAdeza (apatti parathI kh thaI zake che. A artha jo ke alabatta cokkasa to nathI ja, chatAM kaMIka aMze saMtoSajanaka che. missAmAya no artha zu sAmAjika saMbaMdho kare che. paraMtu saMskRta nizrAmA' ane pANI nirAmaya' banneno atha * maithuna ' thAya che. khAsa karIne sarakhAvoH jAtaka0 264, 1 (=407, 24): mirarsamAvidhiyA vaMtvA' sabhyo sAthe maithuna (jenAthI baMne bAbatomAM sAdhu potAnI hiM jhumAve che) karIne." prAkRta vicAmAlano ahIM paNa e ja artha na mAnavAnuM huM koI kAraNa nheto nathI. t parabucAne kho caka thayA, ane sA pAtA Ape che. OM kauMsamAM patA evo vaikalpika pATha Ape che. sArI rIte samarthita thayeluM A pAThAMtara mane samajAtuM nathI. ane cUnI vyAkhyA * athavA panvanA zivase'ya patA nAma moriva prastutA vaneSAm' paNa samAtI nathI. 18'c' no aMtabhAga ca sivAya badhe kRSita che tethI tarkathI huM cokksa kahI zakuM chuM ke ApaNe tAya = tApi ema vAMcavuM. paNa chellA zabdanuM sAcuM rUpa kevuM haze te huM cokkasa kahI zakato nathI. kk 19d ziA te mukhmo : cA. " te pharI pharI nabaLo thAya che." zu te pharI pharI AdhIna thAya che." baMne artho saMdarbhamAM khUba sArI rIte besatA nathI.

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phIrannA : 257 21-34 cUta ane TI nA AdhAre cAkanuM bhAtara mAne che ke 21-23 mAM puruSo cabimArIo")nuM varNana che. 26mAMnA ra aa ii !) vanitAUnuM bhASAMtara 'loko) tema jANavA chatAM paNa' ema kare che emano pATha vijJAnaM ! hoya ema lAge che); jyAre 243mAM te (srIone) vAkayanA kartA tarIke samaje che. zu0 21-24 baMdha mAM sadhuo ja le che. jethI ' sAdhue strIono vizvAsa na karavo kAraNu (taAEA) teo zlokanA pUrvArdhamAM varNavyA pramANe varte che. be prakAranI dalIlano jaMga thAya. 21-24 badhA zlokomAM sImonI duSTatAnuM vataMta udAharaNa che emAM mane zaMkA nathI. 21 ane pachInA zlokomAM je sAo, khAsa karIne nAka-kAna kApIne vikRta banAvavAnI te jamAnAe vIkAratI sajAo vyabhicAriNI o mATe che, nahiM ke caniyArI puruSo mATe 23mAMnI paMktiono paraMparAprApta krama pheravI nAkhavAthI suzliSTa, yunika saMdarbha maTe che. (badalAyelI) prathama paMktimAM aura 'tA' rUpa 5 batAve che 3 224mAM yuo na dhAma " ema bolanAra strI che. rakatamAM AvelA vAmbujAne mA ane guru pUrvajanmanA karmo eTale ke jemanA pArabArSika arthamAM paDAve che. thAta " karmathI prerAIne '') paraMtu jammuno artha kArya, mALAthI juduM, ema ja mAtra thAya che, ii mArcamAM na bArikvAmi, tyevamuvavADavavAnA atula pti tathApi varmA yiyA avantAMta virUpamAzvaranti !); sarakhAvo 24bmAM varNavelo 'vAyA ane muLAno virodha'. A pAdamAM cU, TI. ane bhASAMtara paridvittAne rA, parivAtimAMthI AvatuM batAve che. ane pariNAme b ane ha vacce sIdho virodha Ubho thAya che. e pa riMdA hitamAMthI paNa laI zakAya che, ane saMdarbhe paNa niHzaMka rIte evI apekSA rAkhe che. . 28b puTTA nuM bhASAMtara zu. " jyAre pakaDAI jAya tyAre '' (eTale ke pRSTAH) ema kare che. TippaNamAM teo mApa 1, 2, 1 : puThThA ni ghaNo niyati maMda modekha vAjA ane 1, 6, 24 puThThA vaidhe niyAta viyasava zALAne uSkRta kare che. paNa A baMne khaMDonuM emanuM bhASAMtara cAra 1, 4, 1, 28thI taddana juduM che. juo 1. 2. 1no anuvAda : * karmaNone lIdhe keTalAka ALasu loko motathI gherAI ne saMsAramAM) pAchA kare che." (yA. keTalAka khoTI zikhAmaNane anusarI saMyamamAMthI pANa kare che. teo mohathI gherAyelA murkha loko che.) 1, 6, 24 no anuvAda : " duHkhothI gherAyelA keTalAka Dava (gAvavA) mATe pAchA phare che." (yA tyAre teo sAdhuvananA) duHkhono anubhava kare che tyAre jIvananA mohane kAraNe teo pAchA khasI jAya che.) A khaMDomAM purlR = ghuTa che. ane teno artha " gherAyelA ' eTale ke ' pAzathI pIDAyelA ' (H! juo nIce 2.21ta mukhyanAthe saM atyAre) tevo thAya che. enuM samarthana mAraga 1. pa. 2. 28 a vAco di yAku te ArthayA kusaMtati, yAdu yAre te vAse puDheDadiyAsa6." paNa A artha " pakaDAI Aya tyAre, guno karatA pakaDAya tyAre " nA karatAM taddana judo che ane A arthe ahIM jarA ca cAle ema mane lAgatuM nathI. tethI meM yA. pramANe eno anuvAda che tyAre pUchyamAM Ave tyAre ' ema karyAM che. avA bahu banu to ApaNe ema kahI zakIe ke " jyAre javAba mAgavAmAM Ave tyAre." ' " 29te visA nI ayana ' e rIte ApelI samajUtI manAya tevI nathI. viSaLa no sAmAnya artha 'kaMTALelo, nirAza, udAsa,' ' evo thAya che. visaisI = * viSasin ema mAnavuM bahu zakaya nathI. * viSA--Sir mAM vidh 'vizvA' zabda meLavavAnuM zakaya che ? sarakhAvo viSe ! ne badale viSa-vALuM saMskRta rUpa viSani. 30b AtmatataM nimantraNena no akSarazaH artha= potAnI jAtanA samarpaNa sAthe " sarakhAvo 6b minanuM AyalA nimaMteMti. - sAyane trAhi ! (m ii) ke yAgina (Y) e rIte samatathavAnI bhAgye ja jarUra che. A to mAtra rAjya = sAsanI khoTI joDaNI che. 1aa gara upara 1,11 juo Y 2c * * RtiyALa = mila, na karIne, vikta banAvIne ' ema samAve che ane enuM jASAMtara karIne ka ema kahe che, huM ane hiMmad = rUpako Apayo, gALa devI '' naJa samajavAnuM pasaMda karuM chuM, - (2) < 39 ta vi mAM evo cUno pATha, prAcIna pUrvIya rUpa vaijJAzi (pUM ki 050)ne dUra karI tene vyavasthita banAvavAno cokakho prayatna batAve che. supra017

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58 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava prastha * 46 chandanI daSTie azuddha che. chaThTho gaNa'-ne badale - che. zuddha pATha huM jaNAvI zakuM tema nathI. 6d ca0 ane TI mAM ApelA vAva = nApita e arthane choDIne zu e zabdane mahAvIranA prasiddha nAma vAsava uparathI ghaTADe che. ane A pramANe bhASAMtara kare che: " ane sAdhu tarIke tArI pAse rahetuM rajoharaNa (sApha karavAnI pIMchI) (zabdazaH mahAvIranI pIMchI) mane Apa. paraMtu ramo, 2 siva va ema be kArano upayoga A arthano virodhI che. rA5 ane oLano saMbaMdha dUra karIne (navA! pAdamAM) ApelA samaygALAdino mAtra vAva jaDe saMbaMdha dhaTAvavA e duSkara che. vAsava nI vyutpatti bhale game te hoya, paraMtu eno artha "nApita thAya che e niHzaMka che. rAjakumAranI pravajyAnA AgamagraMthomAM AvatAM varNano (nAthAmA -viyANapannatti) no AraMbha rAjakumAranA vALane cAra AMgaLa jeTalA TUMkAvavA mATe asava ne bolAvavA mokalavAthI ja hamezA thAya che. (" ..mArasa ra3rapucha-vane nivamaLa-pAko marA-vephe vahi".) ApaNuM sandarbhamAM strI sAdhune bahAra jaIne potAne mATe nApatane bolAvavAnuM spaSTa rIte kahe che. 76 kuca -zabdanuM sAcuM svarUpa (juo-bhinna bhinna pAThAMtaro) ke eno artha cokakasa rIte kahevo te azakaya che. huMgNa evo TI. no paryAya, jeno artha nAnI vINA thAya che, mAtra vyutpattinI daSTie eka anumAna mAtra che. hai. eno artha "kaMkAvaTI(uMghumavAnI) ema kare che. A kaMIka, je kharA hoya to, vadhu zakya lAge che. 7d zIlAMkanI daSTie gupasayA eTale (yA nA zabdomAM) "eka cheDo dAMtamAM rAkhI bIje cheDo DAbe hAthe pakaDI jamaNA hAthe vINAnI mAphaka vagADavAmAM AvatI vAMsanI cIpa ke jhADanI chAla" evo thAya che. zu eno artha " basanI laMgaLI' kare che. emaNe pote ja uddhata karelA zIlAMkanA varNana sAthe A arthano bhAgye ja meLa bese che. dvitIya ane caturtha pAdamAM prasAdhananI vastuonI gaNanAmAM gItavAdyone mAnI lIdhelo ulekha zaMkAspada lAge che. 8 A zlokamAM moTe bhAge prasAdhananI--khAsa karIne sugaMdhI dravyonI yAdI ApavAmAM AvI che. zabdakoSAnusAra ne pavanA arthamAM vAparI zakAya che. 8c anukRti sarvAnumate mu" evo pATha svIkAre che. paraMtu chaMdanI daSTie mudA - jarUrI che. migi "copaDavuM krayApada AyAraMga 2. 13. 4 (ane tyAra pachInI punarAvRttiomAM maLe che....tena vA ghA vA vasAi vA manaveka vA misTiksa vA (dAMtana-vihaMksa vA). A sthaLe vADama evuM pAThAMtara svIkArIe-eTale ke miDhirtne badale Ami&iA kriyApada mAnIe-to te vAMdhA bhareluM nathI kAraNake sUyagaDa 1. 4. 2. 8mAM aMdanI daSTie miDhiyAne badale madeg- e pramANe svIkAravuM ja paDe che. cUrNikA noMdhe che: mAya ni tamAsaNa makkhaNam eva. 9a anukRtino sarvasvIkRta pATha padarahi chandanI daSTie azuddha kare che. TIkAkArone pradati ne "ApavuM, lAvavuM' evA prAcIna arthanI khabara na hatI tethI temaNe te zabdane ka dara e rIte samajAvyo. (juoH cU0 mR2 AdarAdi; TI. korSA.......mAdara) Ama A + Ahira parathI apabhraSTa thaI pAdarAdi banyuM. 9b gvAdana-evuM ekavacanAMta 25 yAna kheMce evuM che. cU0 kahe che : chatta nAnAdi kavALae vA nAnAdi tti mAhiA nI nALAsa tato . "chovAthI nANAhi' e pATha svIkAravA mana lobhAya e ravAbhAvika che. chellA pada nAdinA carNikAra "lAva, kAraNake tuM jANe che (ke e kayAM che) athavA " jyAMthI jANe tyAMthI" evo artha kare che. nAnAdino A sthaLe ane 12bmAM tema ja 10dmAM vizALa ino upara pramANeno artha azakya bhale na hoya chatAM jarA kheMcatANIne karelo lAge che. sarvatra "bhAva" evA ja arthanI apekSA rakhAya, " jANa" evA arthanI nahi. (14dmAM AvelA nAnI bAbata judI che). vaLI pUrNatayA samAMtara evA 11'mAM rpha' evo pATha maLe che. upara hamaNAM ja nirdiSTa karelAM traNe rUpo kevaLa atyaMta prAcIna bhraSTa pAThAM che ane temanuM ja nAnA ane upa yAdi (athavA cAreya sthaLe mAhi) ema zuddhIkaraNa zakya che kharuM? mULa granthamAM A pAThane sAmela karavAnI dhRSTatA huM nathI karato chatAM mArI zaMkAne uvekhI paNa zakato nathI, 9c artha putra-rAva karyo che. zIlAMkane e mATe pramANabhUta mAnavo ja rahyo. eno artha saMrakRta "phUla'= java, eka jAtanuM ghAsa, vagere" evo artha laI zakAya?

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phathI rijJA : 259 10d anukRti pramANenuM me 50 chanda pramANe prakSipta puravAra thAya che. viMnna-vikhAya = tApanivAraka = paMkho e pramANe huM samastapada lau chuM. zApatya (uttara" nI potAnI AvRttimAM 2.8 nI noMdhamAM) dhiMna ne saptamI bahuvacana tarIke samajAve che te gaLe UtaratuM nathI. A zabda vaidika "zaMsa' (pazela 101, 105) uparathI UtarI Avyo hoya ke tenI sAthe saMbaMdha dharAvato hoya ema mAnavAmAM bhAgye ja koIne zaMkA hoya. 12a (ca e draSTie khAmI bharelA jUthane sudhAravA svIkArelA) thAkane badale pUtha evo pATha paNa zakya che. vAyatamaugvo "pUjaI ' evuM 25 no che. 13ed, 14ab A baMne paMktio A sthaLe ayogya che kAraNake A paMkitao bALakano janma thaI gayA pachI ja sArthaka bane che, jyAre sarvaprathama 15cd mAM ja strInA dohadanI vAta Ave che ane tyAra pachI 16, 17mAM bALakano janma ane tyAra bAda sAdhue na chAjatI vastuo karavAnI vAta Ave che. vaLI 13mamAM AvelA svAdi ane 14c mAM AvelA vAsaM samamithAvatram nI vacce AvelI A baMne paMkitamAM koI paNa AjJArthanA rUpa sAthe saMbaMdha karI zakAto nathI tethI A paMkti kriyApadarahita banI jAya che. Ama chatAM A paMkitaone AgaLa pachInI paMktiomAM paNa AnupUrvanA kAmamAM goThavI paristhiti badalAI zakAtI nathI, ane cokkasa kaI jagAe A paMkti one samAvavI te kahevuM paNa agharuM che. ApaNI pAse je rIte grantha che temAM koI DhaMgadhaDA vagaranA saMgrAhake asaMtoSa janaka thIgaDA mAryA jevuM kAma karyuM che evI mArI cokkasa khAtarI chatAM emAM pheraphAra karavAnuM meM mAMDI vALyuM che. 18zu tapUjAno svarapAtra evo kAmacalAu paryAya ApI "raNaziMgu" evo artha kare che. rAjapAtA = dhanuSa' evA anukRtinA arthane na svIkAravA mATe teo be kAraNo Ape che: (1) AravAta no artha "dhanu' nahi paNa bANanuM chaTavuM' evo thAya che ane (2) "granthakAre samajUtInI rIte ApelA caturthInA rUpo pramANe bALaka uttarottara moTuM thatuM jAya che; nAjuka bALavayamAM dhanuSa enA kazAya upayoganuM nathI." have zu e "nata'no nava-nAta" evo karelo artha ja barobara che ema paNa nathI. eno artha sAmAnya rIte putra, pumAna apasa evo thAya che. emAM uparanI spaSTatA nathI. ca ane TI pramANe sAmavera = " zramaNano putra' paraMtu pAlI sAmara ane bauddha saMkRta AmIra e baMneno artha zIkhAu' thAya che. ane A zabda ahIM e ja arthamAM mazkarImAM vaparAyo hoya ema bane. kumArane artha rAjakumAra'. TIkAkAro je sAcA hoya--ane huM mAnuM chuM ke te sAcA che-to mArI uparanI dhAraNa kharI che. (juo-TI-kumArabhUtAya suvA , rAjakumArabhUtAya vA maputrAya ; cU0 : isa mama devaghumArabhUto ityAda). Ama emAM umaranI maryAdA nathI (vaLI yAnamAM rAkho ke cIMtharAne daDo moTI umara sAthe-khAsa karIne jarAya meLa nahi khAya). 13d zIlAMkane anusarIne je no artha cA " baLada' kare che ane zuka "(lAkaDAno 3) vAcharaDo" ema kare che. paraMtu taddana spaSTa evA A zabdanI samajUtI zIlAMka "tridAyanaM rIvartama' e pramANe kema Ape che te mane samajAtuM nathI. senTa piTarsabarganA laghukoza pramANe joye no artha baLada ke gAya vaDe haMkAtuM gADuM' ema thAya che. ane moheM-jo-dAronA khodakAme batAvyuM che ke cheka trIjI sahastrAbdI jeTalA prAcIna kALamAM baLadagADAMnAM ramakaDAM pracalita hatAM. 15ab nava-suttama-A zabda ema sUcavato lAge che ke ahIM zramaNane navI khurazI lAvavAnuM nathI kahyuM paNa ene navI pATI nAkhI ApavAnuM kahevAmAM AvyuM che. te ja pramANe tene navI taiyAra pAdukAo lAvavA mATe nahi paraMtu muMja (dhAsamAM)thI jAte gUMthavAnuM kahevAmAM AvyuM che. 16 vAva ane zu kahe che tema prathama pAne sati saptamI tarIke jarUra samajI zakAya. paNa huM tene strInA kathananA bhAga tarIke levAnuM vadhu pasaMda karuM chuM. dvatIyapAda chaMdanI daSTie eTalo badho bhraSTa che ke granthane zuddha mAnI zakAya tema nathI. tema chatAM zakaya pheraphAranuM sUcana karavAnI mArI rAkita nathI. 19a "A (strIo)nI bAbatamAM A pramANe jaNAvavuM joIe" A prakAranuM zu0 bhASAntara kRtrima lAge che kAraNake A arthamAM vizvano saMbaMdha saptamyanta tA[, sAthe joDavAnuM muzkela che. yA vizALa no artha "vinati' samajI strIonI vinatio pratye darakAra rAkhavI nahi" ema bhASAntara kare che. AmAMya tAju e pada vicitra lAge che. vizvavaM no artha 15d mAM AvelA mALag1 thI bhinna nathI ema sUcavAnuM huM sAhasa karuM chuM. gRhastha pAse enI

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ra60 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava panI, nokara ke gulAma tarIkenI sevAo letI hovAthI enI je aNachAjatI sthiti bane che tenA nirdeza A zabda kare che. 20 veda ane vebdha evA be vicitra paThAntaro Ape che. A bannemAMno [ kadAca evuM sUcave che ke mULamAM veaq e vizva=vinati, parathI sAdhelA vaijJANa evuM rUpa hovuM joIe. samagra saMdarbha ane 15d *mAM AvelA mApa ne dhyAnamAM letAM ene kAmacalAu artha "vinati, AjJAMkitapaNuM, vaitaro" evo thaI zake. 20d ()inLAno artha zu che potAnA hAthe' ema kare che. paraMtu traNa vakhata Avato na zabda raNa niSedha dazAve che. chello niSedha hastamaithunano che. 2ad TI, vai0 ane he. (20 pAda uddhata karatI nathI) jAsade pATha svIkAravAmAM saMmata che. paraMtu emAM be mAtra dhaTe che. 22d suvimune badale gAvA ne kADhI nAkhIzuM toya chandane nyAya ApavAnuM eTaluM ja zakya banaze. paraMtu arthanI daSTie A pheraphAra anukULa nathI. sA. ane ha0 mAM maLatuM "vido mAmovara' evuM pAThAntara adhyAyane ane maMgaLa zabda movahu lAvavAnI IcchAthI kadAca svIkArAyuM lAge che. * maLa lekhamAM 13d ne badale bhUlathI 16c chapAyuM che. - anuvAdaka . noMdhaH InDo-irAnIana jarnala (graMtha 2, aMka 4, pR. 249-270)mAM pragaTa thayela aMgrejI lekhano anuvAda karavAnI maMjarI ApavA mATe praoN0 DaoNAlsaDorphano AbhAra mAnuM chuM -aruNodaya nava jAnI * * * * * *

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jaina gaNita ane tenI mahattA narasiMha mULajIbhAI zAha jenonA dhArmika sAhityagraMthomAM bhagavAna mahAvIranI vANI prathamAnuyoga, caraNAnuyoga, karaNAnuyoga " ane dravyAnuyoga ema cAra anuyogomAM vaheMcI nAkhavAmAM AvI che. caraNanuyogamAM iSTa upAsanA ane sAdhunA AcArane lagatA kriyAkAMDono ane dravyAnuyogamAM tattvajJAna, nItizAstra, mAnasazAstra, jIvajIvazAstra vagereno samAveza thAya che. karaNAnuyogamAM alaukika ane laukika gaNitazAstranAM tattvono vicAra karavAmAM Avyo che eTale karaNAnuyogane gaNitAnuyoga paNa kahevAmAM Ave che. A batAve che ke jaina darzanamAM gaNitane UMcuM sthAna apAyeluM che. jainonAM laukika gaNitanI maulikatA ane mahattA aMge aneka vidvAnoe potAnA vicAro pragaTa karelA che. "gaNitatilakanI bhUmikAmAM prophehIrAlAla kApaDiyAe lakhyuM che ke sAmAnya rIte bhAratIo, ane vizeSe karIne jeno, gaNitanI bAbatamAM dhyAna ApavAmAM anya koI deza ke prajAthI pachAta nahotA. dakSiNa bhAratanA gaNitazAstrI mahAvIrAcArya(I. sa. 850)nuM "gaNitasArasaMgraha" A bAbata puravAra karI batAve che. temAM teoe saMgIta, nyAyatarka, nATyavidyA, sthApatya, auSadhivijJAna, rasoI vidyA, vyAkaraNa, kAvyazAstra (piMgaLa), arthazAstra, premavijJAna vageremAM gaNitazAstra yA "gaNatarInuM vijJAnanI upayogitA darzAvI che. trikoNa ane catukoNanA gaNitanuM vizleSaNa mahAvIrAcArye kareluM che, jemAM e aMge keTalIka vizeSatAo sUcavI che. A uparathI spaSTa thAya che ke jainAcAyoMe kevaLa dharma aMge gaNitano upayoga maryAdita rAkhyo nathI paNa aneka vyavahArika bAbatomAM teno prayoga karyo che. bhAratIya gaNitanA viSayamAM tenA vikAsamAM jainAcAryono hisso pradhAna che. je samayamAM gaNita prAraMbhika svarUpamAM hatuM te vakhate jaina gaNitIoe bIjagaNita ane mApakaraNa(mesyurezana)nI samasyAo hala karavAmAM upayogI hisso Apela che. gaNitamAM jenonA phALAnI prazaMsA karatAM DaoN. jI. thIboe sUryaprajJapti aMgenA potAnA nibaMdhamAM lakhyuM che ke grIkonuM bhAratamAM Agamana thayuM te pUrve A graMtha racAyo hovo joIe, kAraNake temAM grIkonI asaranI chAMTa paNa nathI. This work must have been composed before the Greeks came to India as there is no trace of Greek influence in it.

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262 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha bhAratamAM gaNita_aMkagaNita, bIjagaNita, bhApakaraNa, khagoLa vagereno abhyAsa ati prAcIna kALathI cAlato Avyo che. bhAratIya gaNitIoe A viSayomAM saMgIna phALo Apelo che. vastutaH teo Adhunika aMkagaNita ane bIjagaNitanA praNetA hatA. paraMtu evo eka khyAla sAmAnya thaI gayo che ke hiMdanI vizALa vasatimAMthI mAtra vaidiko gaNitano abhyAsa karatA ane temAM rasa letA : bhAratIya prajAnA anyadharmo samUho, dAkhalA tarIke, bauddho ane jaino, A pratye lakSa na ApatA. A mAnyatA pracalita thavAnuM kAraNa e lAge che ke buddha ane jainadharmI gaNitIoe lakhelAM gaNitanAM jUnAM pustako (kadAca sAMpradAyika hovAnA kAraNe) ochAM jANItAM che. emanI prato sArA pramANamAM maLI AvI nathI. paraMtu jenonA Agamo ane anya dharmazAstrone tapAsavAthI dekhAI Ave che ke jenoe gaNitanA viSayamAM rasa laI tenA abhyAsa dvArA potAno phALo ApavAmAM pAchI pAnI karI nathI. vastutaH gaNita ane khagoLanuM jJAna jaina sAdhu saMsthAnI siddhiomAM eka viziSTa aMga gaNAyuM che (juo bhagavatI sUtra : sUtra 90 : abhayadevasUrInI TIkA : mahesANuM Agamodaya samitiH 1919). gaNitanA atyAre prApya sAhityanA purAvA parathI ema kahI zakAya ke pATalIputra (paTaNA), ujajaina, khaMbhAta, masUra, malabAra, valabhI ane sAmAnyataH vANurasI, takSazilA ane anya keTalAMka sthaLoe gaNita aMgenA abhyAsa mATe samRddha mathako astitvamAM hatAM. A badhA vacce kevA prakArano saMbaMdha hato e cokkasa kahevA mATe atyAre ApaNI pAse pUrato purAvo nathI. A viSaya vizeSa saMzodhana mAgI le che. paNa judAM judAM mathakoethI maLI Avato gaNitika pustakonI tapAsa dvArA mAlUma paDe che ke vidhavidha mathakoe thatuM gaNitika kAma sAmAnyataH maLatuM AvatuM hatuM-jo ke keTalIka vigatonI bAbatamAM pharaka spaSTa mAlUma paDe che. A uparathI ema kahI zakAya ke A badhAM mathakomAM gaNitanA abhyAsamAM paDelA vidvAno vacce arasaparasa saMbaMdhano vyavahAra haze: vidvAne eka mathakethI bIje mathake jatA haze eka jagyAe thayela zodhanA pariNAmo bIjA mathake jaNAvavAmAM AvatAM haze ane vicAravinimaya thato haze. jaina ane buddha dharmanA prasArathI vidhavidha vijJAna ane kaLAonA abhyAsane uttejana maLyuM che. bhAratanuM dhArmika sAhitya ane vizeSataH buddha ane jaina dharmanA sAhitya graMtho, tapAsatAM A aMge purAvA maLI Ave che. gaNitanI bAbata laIe to moTI saMkhyA darzAvatA AMkaDA A pustakomAM vAraMvAra vaparAyelA mAlUma paDe che. AvA gaMjAvara AMkaDAno upayoga ane e lakhavA mATe sAdI saMjJApaddhatinI khilavaNI je na hoya to, AvA AMkaDA lakhavA-darzAvavA muzkela che, ane AMkaDA goThavavAnI atyAre pracalita dazAMka paddhatinI zodha ene AbhArI che. have susthApita thayuM che ke dazAMza paddhati IsavI sananA prAraMbhamAM bhAratamAM zodhavAmAM AvI hatI. A samaya buddha ane jaina dhamano madhyAhnakALa hato. A paddhati vedasamayanI prAthamika avasthAmAMthI pAMcamA sikAnA AryabhaTa ane varAhamihira jevA gaNitajJonAM pustakomAM maLI Ave che. ethI gaNitika pragatimAM vega Avyo ane teno vikAsa thayo. game evaDI moTI saMkhyA darzAvatA AMkaDA Aje ApaNe sahelAIpUrvaka lakhI zakIe chIe. koIpaNa AMkaDAnI jamaNI bAjue lakhatAM hAtha thAkI jAya eTalA AMkaDA ke mIMDAM mUko; ane cokasa saMkhyA darzAvatA AMkaDA banAvI zakAze. jUnA kALamAM misaravAsIo koI saMkhyA darzAvato AMkaDo lakhavA e AMkaDo eTalIvAra lakhI darzAvatA. jemake, 8732 lakhavuM hoya to AvAra 8nA sAtavAra unA AMkaDAnI, traNavAra 3nA AMkaDAnI, bevAra benA AMkaDAnI saMjJA lakhavI paDatI. A rIta ati kaMTALA bharelI ane kilaka paNa che. tyAra bAda romanoe saMkhyA darzAvavA kakkAnA akSarano

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jaina gaNita ane tenI mahattA : 263 upayoga dAkhala karyo. romanapaddhati pramANe 1ne mATe 1, 10ne mATe X, 100ne mATe C, 500 mATe D ane 1000 mATe C evI saMjJAo vAparavAmAM AvatI, romana paddhati pramANe 8732 lakhavuM hoya to, 8 hajAra mATe MMMMMMMM, so mATe DCC, trIsa mATe XXX ane e mATe II, eTale MMMMMMMMDCCXXXII eTaluM lakhavuM paDe. romana AMkaDA hajI paNa pustakomAM prakaraNanI saMkhyA, ghaDiyALanA DAyala para AMkaDA darzAvavA upayogamAM levAya che. Adhunika ekama, darzaka, so, hajArano krama sUcavatI paddhati pramANe AMkaDAo vaDe saMkhyA darzAvavAnI dazAMkapati dAkhala karavAnuM mAna jaina gaNitione jAya che. gaNitanA itihAsakAronI dhyAna bahAra rahelI eka khAkhatano ullekha ahIMyAM asthAne nahi gaNAya. vaidika, bauddha ane jaina sAhitya I sa. pUrve trIjA ke cothA saikAthI mAMDIne madhyayuganA kALa sudhI sAtatya jALave che--dareka saikAnuM pratinidhitva dharAvatuM sAhitya maLI AvyuM che. paNa gaNitanI bAbatamAM e sAtatya sacAvatuM nathI--moTA gAbaDAM paDelAM che. I. sa0 499mAM racAyela AryabhaTTIyanA pUrvenuM eka paNa gaNitika pustakanI prata bhAgye ja maLI Ave che. AmAM eka apavAda che vakSazAlI tarIke oLakhAtI tUTaka hastapratano. A vakSazAlI prata I sa. bIjA ke trIjA saikAmAM lakhAyela lAge che. e vakhate gaNitanA jJAna saMbaMdhI zI paristhiti hatI e aMge vigatavAra mAhitI temAMthI maLatI nathI. AryabhaTTa, brahmagupta ke zrIdharanAM pustakomAM che tevuM gaNitika vivaraNa emAM nathI. emAMthI mAtra eTaluM maLe che ke saMkhyA lakhavA mATe AMkaDAnI goThavaNapaddhati te vakhate jANItI hatI. AryabhaTTIyamAMthI maLatAM gaNitanA siddhAMto khUba AgaLa vadhelAM mAlUma paDe che. Adhunika aMkagaNita-vyAja, trirAzI, dvidhAta(quadratic)samIkaraNonA nirAkaraNa (solution) mATe bIjagaNita, anizcita samIkaraNo (indeterminate equations)--A badhA viSayonuM nirUpaNa temAM AveluM che. I. sa. 1912mAM raMgAcAryane gaNitasAra saMgrahanI prata maLI : temaNe tenuM saMzodhana karI tenuM prakAzana karyuM : tyArathI vidvAnone lAgyuM ke jaina gaNitanI paraMparA hovI joI e. 'jaina skUla oNpha maeNthemeTiksa' nAmanA lekhamAM (muleTina kalakattA metha. sosAyaTI, 1929, 21, 115-145) praoNphesara khI. datte jainonAM sUtrono abhyAsa karI jaina gaNita viSe ane te aMgenAM e pustakomAMnA aneka saMdarbho prakAzamAM ANyA. AmAMthI keTalAya jaina gaNitanoe lakhelAM gaNitanAM pustako adyApi prApya nathI. jaina bhaMDAromAM saMgrahAyelI hatapratone tapAsI gaNitane lagatAM jainoe lakhelAM pustako prakAzamAM ANavAno samaya pAkI gayo che. 'sarva vijJAnonuM udgama sthAna thrIsa ke roma che' e pazcimI vidvAnoe pracalita karela siddhAMta have lAMbo vakhata TakI zake ema nathI. I sa. pUrve 279mAM mRtyu pAmela bhadrabAhu (1) sUryaprajJaptinI TIkA ane (2) bhadrabAhavI saMhitAnA lekhaka hatA. siddhasenanuM nAma jaina khagoLavidomAM jANItuM che. ardhamAgadhI ane prAkRta sAhityamAM gaNita aMge temanA kAryanA ullekho vAraMvAra maLI Ave che. zvetAMbaronA karmagraMtha jevo digaMbarono graMtha khaMDAgama che. tenI TIkA vIrasene navamA saikAmAM prAraMbhanA varSomAM lakhI hatI. A TIkAgraMtha dhavalA nAme suviti che. vIrasena eka dArzanika hatA : temane gaNitazAstrI kahI na zakAya. eTale dhavalAmAM ApelI gaNitika bAbato agAu thaI gayelA gaNitajJonA AdhAre apAyela hovI joI e. dhavalAmAM Apela gaNita I sa0 200-600nI AsapAsanA samayanuM che ema gaNitanA vidvAnono abhiprAya che, eTale bhAratIya gaNitanA aMdhArayuga aMge te mAhitI pUrI pADe che. dhavalAnI Nitika sAmagrI I sa0 500nA jamAnAnI pahelAMnI che evuM teno vigatavAra abhyAsa karIne vidvAnoe

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264: zrI mahAvIra jaina vidyAlaya suvaNamahasava cantha puravAra karI batAvyuM che. dhavalAmAM varNavela gaNitanI ghaNu rIto anya koI gaNitika graMthamAM maLatI nathI. dhavalAnuM gaNita AryabhaTTIya ane pachInA graMthomAM che teTaluM saMkRta thayeluM nathI. ApaNI saMkhyA-paddhati sthAnamUlyanA siddhAMta para racAyela che. A paddhatinA be phAyadA che. eka te game teTalI moTI rakama ApaNe daza AMkaDA(saMketo)nI madadathI lakhI zakIe chIe; bIjuM enAthI saravALA-bAdabAkInA niyamo ati saraLa thaI gayA che. dhavalAnA lekhaka dazAMka paddhati, sthAnamUlya paddhati(place value system of notation)thI pUrepUrA vAkephagAra che evo purAvo puratamAM badheya maLI Ave che. dAkhalA tarIke, moTA AMkaDAvALI saMkhyA lakhavAnI nIce ApelI traNa rIto temAMthI maLI Ave che? (1) 79999998 jevI saMkhyAnI rakama lakhavA zarUAtamAM 7, cheDe 8 ane vacamAM 6 navaDA mIne e saMkhyA darzAvAI che. A rIta jaina sAhityamAM badheya ane gaNita sArasaMgrahamAM keTalIka jagyAe mAluma paDe che, ane sthAna-mUlya-kanyAsa paddhati sAthe paricaya darzAve che. (2) 46666664nA AMkaDAne 64, 600, 66 hajAra, 66 lAkha ane 4 koTi (karoDa) ema lakhavAmAM Avyo che. A rItamAM nAnI saMkhyA prathama mUkI che, je saMskRta sAhityamAM pracalita praNAlI mujaba che. jemake, 19 mATe ekoviMzati, 12 mATe dvAdaza. aMkanyAsano khela 100 che--nahi ke daza. prAkRta ane pAlI sAhityamAM 100no AMka skela tarIke sAmAnya rIte vaparAyo che. A (3) 2279949ne 2 koTi (karoDa), 27 lAkha, 99 hajAra, 400ne 98 tarIke darzAvAyo che. Adhunika pracalita rIte anusAra moTAmAM moTo mUlyAMka prathama mUkavAmAM Avyo che. jaina graMthomAM jIvarAzi, dravyapramANa vagerenI carcAmAM moTI saMkhyA darzAvatA AMkaDAo vAraMvAra maLI Ave che e suvidita che. karmagraMthamAM (ane digaMbaronA pakhaMDAgama ane tenI TIkA dhavalAmAM paNa) moTI moTI saMkhyA darzAvatA AMkaDAo maLI Ave che. koTi-koTi-koTi ane koTi-koTi-koTi-koTi AtmAonI saMkhyA A pustakamAM noMdhAyela che. saravALA, bAdabAkI, guNAkAra ane bhAgAkAranI mULabhUta rIte; vargamULa, ghanamULa vagere bAbatono ullekha maLI Ave che. Adhunika gaNitamAM laoNgerithame (laghugaNaka) mahattApUrNa sthAna prApta karyuM che. A aMge dhavalAmAM ApelI nIcenI keTalIka muddAnI bAbato laIe : (1) saMkhyAno ardhacchada eTale jeTalI vAra tene ardha karI zakAya te saMkhyAnI barAbara. A rIte mno ardhacchada = m. ardhacchedane TUMkAmAM Ac vaDe darzAvIe to, Adhunika paribhASAmAM koI saMkhyA(x)no ardhacchada Acx= log *, jemAM laoNgerithama benA pAye (beIjhamAM) che. [, (2) trikaraccheda : koI paNa saMkhyAno trikaccheda tene 3 vaDe jeTalIvAra bhAgI zakAya tenI barAbara. trikaccheda mATe TC saMkhyA laIe to koI paNa saMkhyA xno trikaccheda = Tex=log, 4, jemAM laoNgerithama unA beIjhamAM che. (3) vargasalAkA : koI saMkhyAnI varga salAkA eTale te saMkhyAnA ardhacchedano artha che. koI saMkhyA xnI varga salAkA (vs) eTale-- - - Vs= Ac Ac x=log log x, jemAM laoNgerithama benA beIjhamAM che.

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jaina gaNita ane tenI mahattA : 265 (4) catucchedaH cAra vaDe jeTalIvAra bhAgI zakAya tenI barAbara. . koI saMkhyA (x)no caturthaccheda (cc) = cc x = logqx (jemAM laoNgerithama inA beIjhamAM che) laoNgerithama aMge dhavalAmAM nIcenAM pariNAma tAravavAmAM AvyAM che : (1) Log (m/n) = log m - log n (2) Log (m.n) = log m + log n (3) Log2 m =m () Log (x*) 2 = 2 x log x (4) log log (x*)2 = log (2 x log x) = log x + log 2 + log log x 4 log 2 = 1 = log x + 1 +log log x (6) log (xx) x =xx log xx A batAvI Ape che ke e jamAnAmAM jaina gaNitano Adhunika ghAtanA niyamo ane laoNgerathamanA siddhAMtothI paricita hovA joIe. have bIjI keTalIka bAbatono TUMkAmAM nirdeza karIe. apUrNAMka aMge paNa puSkaLa mAhitI maLI che. A mAhitI koI paNa anya gaNita-pustakamAMthI maLatI nathI. trirAzi aMge paNa ullekho che. A aMge phaLa, IcchA ane pramANa evA pAribhASika zabdono vaparAza karavAmAM Avyo che. prAcIna sAhityamAM anaMta infinite) zabda anekavidha arthomAM vAparavAmAM Avyo che. enI yogya vyAkhyA ane anaMtatAno khyAla pAchaLathI dAkhala thayo. moTA AMkaDAvALI rakama vAparanArAoe athavA to potAnA darzanamAM AvA AMkaDA vAparavA TevAyelAoe enI vyAkhyA upajAvavA prayAsa karyo haze. anaMta zabdanI sAthe saMkaLAyela anekavidha khyAlonuM vargIkaraNa karavAmAM bhAratanA jaina dArzaniko saphaLa thayA ane pariNAme tenI vyAkhyA teoe upajAvI. A vargIkaraNa anusAra anaMtatAnA agiyAra prakAra che: (1) nAmAnanta (2) sthApanAnanta (3) dravyAnA (4) gaNanAnanta (sAMkhyika anaMta) (5) apradezikAnanta (6) ekAnanta (7) ubhayAnanta (8) vistArAnanta (9) sarvananta (10) bhAvanAnanta (11) zAzvatAnaH (avinAzI). A vargIkaraNa sarvagrAhI che ane jaina sAhityamAM je arthomAM anaMta zabda vaparAyo che te badhAno temAM samAveza thAya che. jaina sAhityamAM saMkhyAta (numerable), asaMkhyAta (innumerable) ane anaMta (infinite) saMkhyA prAraMbhathI ja vAparavAmAM AvI che. - yuropamAM ArkimiDIse samudrakAMThe retInA kaNonI saMkhyA nakkI karavA prayatna karyo. grIka tatvavettAoe anaMta ane maryAdA aMge aneka kalpanAo rajU karI. moTI saMkhyA darzAvavA anukULa saMjJAonI teone khabara nahotI-tenuM jJAna nahotuM. bhAratamAM vaidika, jaina ane buddha dArzanikoe A aMge yogya saMsAdarzako upajAvyA. khAsa karIne jenoe vizvamAM jIvasaMkhyA, samaya, sthaLa vagere aMge khyAla ApavA prayatna karyo.

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216 H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava moTA AMkaDA darzAvavA nIce Apela traNa rIte upayogamAM levAtIH (1) sthAna-mUlya paribhASA : dazanuM dhoraNa vAparIne 1040 jevA moTA AMkaDAo darzAvavA 10nuM dhoraNa yojavAmAM AvyuM hatuM. (2) ghAtanA niyamo (varga-saMvarga) moTI saMkhyAo TUMkAmAM darzAvavA upayogamAM levAmAM AvatA. dAkhalA tarIke, (2)ra = 4 (22)= x = 256 (2)ra * ( rAya ? = 256256. Ane 2 no tRtIya vargIta-saMvargata kahevAyo che. A saMkhyA vizvamAM proTIna ane ilekTronanI saMkhyA karatAM paNa vadhAre che. (3) lagerithama (ardhacchada) yA laoNgeriyamano lageriyama (ardhacchada salAkA) moTA AMkaDAnA laoNgerithamanI kriyA dvArA nAne darzAvavA vAparavAmAM Avato. jemake, log22 = 2 log loga 2562 56 =11 log, log, 4 =3. A traNa rItomAMthI eka yA bIjIno upayoga ApaNe Aje karIe chIe. dazAMka paddhati AkhI duniyAmAM sAmAnya thaI paDI che. moTA AMkaDAvALI saMkhyAnI gaNatarI karavA laoNgeriyamano upayoga Aje sAmAnya rIte thAya che. dhAtanA niyamono upayoga Adhunika bhautika vijJAnamAM sAmAnya banI gayo che. vizvamAM proTonanI saMkhyAnI gaNatarI karIne AMkaDo 136-2256 vaDe darzAvAya che. A badhI Adhunika rItonA siddhAMto jainone jANItA hatA, kAraNake temano upayoga thayelo che, eTale sAtamA saikA pahelAM bhAratamAM A rIte jANatI haze ema phalita thAya che, ane emAM jene gaNitano phALo mahattApUrNa che. anaMtatAnA aneka prakAro astitvamAM che ema jyorja kenTore ogaNIsamI sadInA madhyamAM darzAvyuM. Transfinite number(sAMta-atIta saMkhyA)no siddhAMta teNe rajU karyo. anaMta rAzio(aggregates)nA pradezomAM kenToranA saMzodhane gaNitane majabUta pAyo pUro pADyo; saMzodhana mATe eka prabaLa hathiyAra ApyuM ane gaNitanA ati gahana (abstruse) vicArone cokasAIpUrvaka abhivyakta karavAnI bhASA pUrI pADI. A AMkaDAonuM kalana (calculus) hajI vikAsa pAmyuM nathI eTale AvI saMkhyAone gaNitika vizleSaNamAM asarakAraka rIte upayogamAM laI zakAtI nathI. mULabhUta (cardinal) saMkhyA 9nA vargIta-saMvargIta cc no khyAla anaMta mULabhUta naMbarono siddhAMta upajAvavA mATe jenono prAthamika prayAsa che. jaina sAhityamAM utkRSTa-asaMkhyAtano vicAra anaMtatAnI najIka Ave che. gaNitanA vikAsamAM Avo prayatna zarUAtamAM niSphaLa ja nIvaDavAno. chatAM jaina gaNitIoe e prayatna karyo e ja adbhuta che. emAM ja jaina gaNitanI mahattA samAyelI che. - jainonA bhUmitika jJAna viSe be bAbatono TUMko ullekha asthAne nahi gaNAya. bhagavatI sUtra (sUtra726-727)mAM ekano ullekha mAlUma paDe che. jAtajAtanA bhUmitika AkAro banAvavA jarUrI pradeza

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jaina gaNita ane tenI mahattA H 267 (pradeshas)nI laghutama saMkhyAnuM temAM vivaraNa che. bIjI bAbata budIpa prajJaptimAM meruparvatanA judA judA staro aMge savistara carcA karavAmAM AvI che. ja (pAI)nI kiMmata kADhavA jUnA kALathI pAzcAtyoe prayatno karelA ema gaNitanI tavArIkhamAMthI maLI Ave che. (pAI)nI kimata aMge jenonAM sUtromAM nIcenA traNa spaSTa AMkaDAo noMdhAyelA maLI Ave che: (1) V10; (2) traNa karatAM jarAka vadhAre tripui viroSam ane (3) 316. bhagavatI sUtramAM (sUtra 91), jIvAjIvAbhigamasUtramAM (sUtra 82 ane 109), jaMbuddIpaprajJaptimAM (sUtra 3), tattvArthIdhigamasUtrabhASyamAM (311) ane bIjA keTalAka graMthomAM prathama kimata(10)no nirdeza mAlUma paDe che. uttarAdhyayana sUtramAM (36, 59) nI bIjI kiMmata mAlUma paDe che. trIjI kiMmata chavAchavAbhigamasUtramAM (sUtra 112) sUcavAI che. ema noMdhavAmAM AvyuM che ke vartalanA vyAsa (diameter) mAM 100no vadhAro thatAM teno paridha (Circumference) 316 jeTalo vadhe che. vartuLano paridha tenA vyAsa pramANe phare che e bAbatathI jaino abhinna hovA joIe ema anumAna thAya che. digaMbaronA graMthomAM ja = 19/6 ema samIkaraNa ApyuM che. jenono gaNitanA vikAsamAM phALo e viSaya khUba saMzodhana mAge che. ApaNu apragaTa jUnA graMthonuM saMzodhana karI vizeSa purAvo bhego karavAnI AvazyakatA che. atyArasudhI sArA evA prayatno thayA che. paraMtu vizeSa vyavasthita savistara saMzodhana icchanIya cheApaNA junA bhaMDAromAM paDelI hastaprato ane graMtho tapAsIne. * jainataroe (hiMduoe) nAnI kiMmata kADhelI che. A mATe juo DaoN. dattano lekha (jarnala oNpha eziyATika sosAyaTI oNpha beMgAla, vaoNlyuma 22, 25-42 (1926)).

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haThIsiMhanuM daheruM ravizaMkara ma rAvaLa gArjara nareza mahArAjAdhirAja kumArapALanA samayamAM jaina dharmano prabhAva gujarAtamAM vistAryo tyArathI che jyAre jyAre gurjara dhanikone taka maLI tyAre tyAre temaNe potAnA iSTadevanAM mahAna tIrthadhAmonAM sarjana mATe akhUTa dravya vAparavAmAM je udAratA dAkhavI che te ItihAsaprasiddha banI che. kuMbhAriyA, Abu, zatruMjaya ane rANakapuranAM devamaMdiro tenI pUrNa pratIti Ape che. - A paraMparAe amadAvAdamAM paNa jaina maMdirothI nagarane zobhA ane prasiddhi maLyAM che. gujarAtI muslima sulatAnoe amadAvAda vasAvyuM eTale temanAM makAno ane masjida tathA makarabA uttama ja hoya. temanA rAjadvAre jaina zeThiyAone sAruM sanmAna maLatuM teno lAbha laI temaNe paNa sArAmAM sArAM maMdiro baMdhAvI kIrti prApta karI che. amadAvAda asalathI jaina nagarI che. zAhajahAMnA vakhatamAM jhaverI zAMtidAse bAvana jInAlayovALuM ciMtAmaNinuM daheruM baMdhAveluM paNa auraMgajhebanI subAgIrI vakhate te apavitra thayuM hatuM ane keTalAka samaya sudhI jainonI pratiSThA pAmelI pratimAo bhoMyarAmAM rAkhavI paDI hatI. AvuM ghaNuM kALa cAlyA pachI ogaNasamI sadInA adhavacamAM pahelAMnA rAjyanI asthiratA ane bhaya jatAM rahyAM hatAM ane khAsa karI aMgrejI rAjyamAM lokone zAMti maLI. e zAMtimAM amadAvAdanA lokono bhAMgI paDelo vepAra dhImedhIme sudharyo, jAmyo ane vistaryo eTale jenono maMdiro bAMdhavAno rasa paNa jAgrata thayo ane ogaNasamI sadInA madhyamAM zeTha haThIsiMhanuM moTuM devAlaya dillI daravAjA bahAra baMdhAyuM. zAMtidAsa zeThanA ciMtAmaNi maMdirano nAza thayA pachI evuM moTuM maMdira A ja hatuM. mogalAI pachInI aMdhAdhUdhImAM mUMjhAyelA mulakamAM bIjA koI prAMtamAM e samaye AvI uttama kArIgarIvALuM maMdira bhAgye ja thayuM haze ema kahevuM vadhu paDatuM nahi gaNAya. amadAvAdanA dillI daravAjA bahAra AveluM A suMdara maMdira jyAM sudhI raheze tyAM sudhI haThIbhAI zeThane amadAvAdamAM koI nahi bhUle.

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haThIsiMhanuM daheruMH 269 - emano janma ozavALa vaNika jJAtimAM visaM. 185ramAM thayo hato. emanA pitA kezarIsiMha rezama ane kiramajano vepAra karatA. temaNe e samaye jarUra paDe eTaluM bhaNatara haThIbhAIne karAvyuM hatuM. haThIsiMhane nAnA mUkI te gujarI gayA eTale peDhIno vahIvaTa emanA kAkAnA dIkarA mohakamacaMda calAvatA. temanI pAsethI haThIsiMhe vepAravahIvaTa ane paradezanI ADato bAbata khUba anubhava meLavyo. - haThIsiMhano vepAra cIna aphINa caDAvavAno hato ane temAM ghaNIvAra moTA sodA paNa karatA. hajAra be hajAra peTIthI ocho sodo teo karatA nahi paNa e vakhate hamaNAnA keTalAka vepArIonI jema koI sAthe dago ramatA nahi ane saMbaMdhamAM AvelA vepArIonI AMTa jALavatA. dAna ApavAmAM varNa ke jAtano bheda rAkhatA nahi. emanI udAratAne lIdhe emanA mRtyu pachI paNa garIba loko temane saMbhAratA. zeTha hImAbhAI ane zeTha maganabhAInI sAthe pacatIrthano saMdha laI te jAtrAe nIkaLyA hatA paNa rastAmAM roga cAlyAnI khabara maLatAM pAchA AvyA. vi. saM. 1941(I. 1848)nA mahA mahinAmAM emaNe dillI daravAjA bahAra moTA maMdiranuM khAtamuhUrta karyuM. e maMdira pUruM thAya te pahelAM temanAM mAtuzrI surajabAI mAMdAM paDyAM. emanI Akhara avasthA hatI tevAmAM haThIsiMhane hoThe eka phollI thaI te jherI thaI vakarI. temAM teo cAra divasanI mAMdagI bAda, visaM. 1941nA zrAvaNa suda pane zukravAre maraNa pAmyA. temanA maraNa pachI eka mahine temanAM mAtuzrI sUrajabAI gujarI gayAM. haThIbhAI nagarazeTha hImAbhAInI putrI rUkSmaNIne paraNyAM hatAM paNa temanI AMkhe aMdhApo Avyo eTale hImAbhAInI bIjI putrI prasanna sAthe lagna karyA. paNa te akALe gujarI gayAM eTale ghoghAnA eka vaNikanAM putrI harakuMvara sAthe temanuM trIjIvAra lagna thayuM. A harakora zeThANInuM nAma amadAvAdamAM Aja sudhI prasiddha che. emanAM pagalAM thayAM pachI zeThanI samRddhi bahu vadhI. te bhaNelAM, vyavahAradakSa, catura ane dharmaprabhAvanAvALAM gurjara nArIratna hatAM. nAmAMkita patinI IcchA pramANe temaNe maMdiranuM adhUruM kAma pUruM karAvyuM. peDhI ane maMdiranuM kAma saMbhALavA te jAte peDhI para jatAM ane munImo tathA gumAstAone doravaNa ApatAM. zeTha haThIsiMhane putra nahoto tethI temaNe baMne patnIone pitarAI bhAI dolatabhAIne be dIkarA dattaka levarAvyA hatA. paNa emanI alaukika kIrti A haThImaMdirathI ja jaLavAI che. maMdiranI pratiSThA karAvatI vakhate kaMkotrIo kADhI. aneka saMdha AvyA. lagabhaga lAkha mANasa bheguM thayuM hatuM. dillI daravAjAthI zAhIbAganA mahela sudhI lokoe paDAva nAkhyo hato ane saM. 1903nA mahA vada 11ne divase cauda ghaDI ne pAMca paLe zrI sAgaragarachanA bhaTTAraka zrI zAMtisAgarajInA haste 15mA tIrthaMkara zrIdharmanAtha bhagavAna vagere jinapratimAonI aMjanazalAkAthI pratiSThA thaI. - amadAvAdanuM A eka devAlaya che. gaI sadInA pUrvabhAgamAM e baMdhAyuM che. prAcIna rIta pramANe maMdiro bAMdhanArA zipIonA parivAra haju hayAta che te A maMdirathI siddha thAya che. zipI macaMda salATe enI racanA karI che. te baMdhAyuM tyAre zikharabaMdha derIonA koTa vacce gherAyeluM samagra nimaNa, cAre pAsanI hariyALI vacce, kharekhara koI devanivAsa samuM lAgatuM haze. pAchaLathI najIkamAM yuropiyana Dhabano eka baMgalo ane pharatA moTA koTano daravAjo, grIka svarUpanA koriMthiyana thAMbhalAo ane romana DhabanI kamAnano daravAjo koI paradezIne vimAsaNa karAvI de che prAcIna bAMdhaNunA devAlaya AsapAsa AvuM yAvanI svarUpa nirmANa karanArAno hetu zo haze.

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ra70: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI paraMtu aMdara praveza karatAM ja maMdiranA darzanabhAga jotAMnI sAthe sthApatyaracanAnI sapramANa ekarUpatAthI prabhAvita banI koI paNa jonArathI AnaMdanA udgAra kADhyA vinA rahevAtuM nathI. maMdiranA balAnaka athavA pravezadvAranA nakazIthI bharapUra staMbho upara evI ja zobhAyamAna mALa racanA che. tenI be bAju minArA jevA beThA ghATanA toDA che, je muslima asara batAve che. DelI ke doDhIthI aMdara jatAM ja vizALa caoNka vacce maMdira najare paDe che. tenI pharatI koTanI jema goThavAyelI derIo AbanA maMdiranI yAda Ape che. e badhI sAthe caoNkamAM bAvana jinAlayo che. sattara rIo dareka bAja para che. nava derIo pAchaLanA bhAgamAM ane pravezadvAranI be bAju cAracAra maLI ATha che. te ane mukhya maMdira maLI jinAlayonI saMkhyA bAvana thAya che. maMdirano raMgamaMDapa pachInI ghaTamaMDapa ane chevaTano gabhAro (garbhamaMdira) : badhuM ja kAma dezI khArA paththara(saMDa sTona)mAM kareluM che. baMne bAju cokamAM javAnAM pagathiyAM che. gUDhamaMDapanI beu bAjunAM pagathiyAMnI caoNkI upara A maMdiranI bAMdhaNIne nAgarazelInuM svarUpa gaNavAmAM Ave che. barnesa ane phargyusana jevA prakAH sthApatyapaMDito A maMdiranI racanAmAM utArelI saMbaMdhaparaMpara ane ekarUpatA upara vArI gayA che. bIje koI ThekANe ahIMnI peThe dareka racanA hetusArI ane mugdhakara banelI jovAmAM AvatI nathI. anekavidha nakazIkAma, pramANa ane khaMDone samagratA ApI mukhya kendra tarapha manane ekAgra karAvanArI virala zakti ahIM prakaTa thatI dekhAya che. aMdarathI najara pheravo, ke bahAra cokamAM jaI koI khUNethI nirIkSaNa karo to aneka prakAranI vividhatAo jotAM chatAM ApaNane gUMcavaNu ke mathAmaNa lAgatI nathI. dareka racanA ke goThaveNa teno hetu saMbhALI AnaMdaprada banI rahe che. - phargyusane kahyuM che: "hindusthAnamAM jaina sthApatya Toce pahoMcyuM hatuM ane musalamAna samayamAM keTalAMka mizraNathI e vadhAre zuddha banyuM. musalamAnI samayamAM paNa jaina maMdiro baMdhAyA temAM A maMdiranI racanA saMpUrNa dekhAya che." A maMdiranI bAMdhaNI ATalI uttama chatAM emAM mAnavaAkRtionuM rUpavidhAna pahelo darajajAnuM na gaNI zakAya. pAMca pAMca sadIothI ApaNA zipIone murilama AdazanAM kAraNe rUpakAmathI vimukha rahevuM paDayuM hatuM tethI AkAramAM upajelI saMdigdhatA ane nizcetanatA bahAra paDI Ave che. - raMgamaMDapanA AThe thAMbhalA para devAMganA ke pUtaLIo che temAM A vAta spaSTa thAya che. thAMbhalAone corasanI aThAMsamAM lAvI goLa ghummaTa karavAnI rIta solaMkI yuganI che. ghummaTanA aMdaranA Tocane vitAna kahe che. vitAnamAM nakazIdAra kaMdorA hoya che, ane TheTha upara jatAM sAMkaDA biMdumAMthI padmazIlAnuM kamaLa, jhumara jevuM zobhe che. raMgamaMDapanI bho upara madhyamAM ja AgrAnA jevuM raMgIna paththaronuM jaDatarakAmathI banAveluM kamaLacakra che tethI zobhA ghaNuM vadhI jAya che. sAme gUDhamaMdiranA eka ja moTA paMcazAkhAvALA nakazIdAra dvAranI be bAju jamIna para be bAju ghumarIo che. A ghUmaTIo nIcenA bhoyarAnI mUrtionI AsAtanA ke aparAdha na thAya te mATe rAkhI che. sthApatyano doSa vahorIne paNa tene zobhA tarIke jagyA karI ApelI che. gUDhamaMDapamAM staMbha nathI. pravezadvAra uparAMta be bAjuthI caoNkamAM javAnA moTA bAraNAM ja che, tethI tyAM prakAza ocho che. paraMtu sanmukha garbhamaMdiranAM traNa dvArA tarapha jatAM dhyAnastha pratimAomAM ekAgra thavA bIjuM aMdhAruM madadarUpa bane che.

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haThIsiMhanuM daheruM : 271 gUDhamaMdiranAM pratimAdArone suMdara mulAyama AkRtiovALI pittaLanI jALIo che. muslima kALamAM udaya pAmelI nakazInA e suMdara namUnA che. gUDhamaMDapanI upara mALa che tethI teno ghummaTa ghaNo UMco gayo che. paNa maMDapanI bAjunA khUNathI upara javAnA dAdara mUkelA che te dvArA uparanA mALe tema ja dhAbA upara jaI zakAya che. maM5nA mALe pharatI goLa aTArI che temAMthI nIceno bhAga jovAya che; tema ja ghummaTa tyAMthI najIka hoI te paranI keTalIka suMdara pUtaLIo nIrakhavAnI sagavaDa maLe che. aTArImAMthI bahAranA dhAbA para jatAM be bAjunAM vimAnagRhonAM cha uparanAM sAmaraNa (ke saMvaraNa) athavA beThAM zikharo ane tenI uparanI kArIgarI najIkathI jevAthI mana bahu tRpti pAme che. tyAM karelI hAthI ane manuSya AkRtio koI samartha kArIgaranA hAthanI prANavAna kRtio che. te sAthe vimAnanI bhIMto paranI kotarelI paththaranI jALIonI nakazI vividhatA sAthe sukumAra zobhAbhara jarUkhAne rAjasthAnI asaravALI kamaLapattinA zirohI ghATInI thAMbhalIo ane kamAno che. kharuM kahIe to samagra maMdiranI racanAmAM A vimAnameDIo ane pravezanuM balAnaka athavA meDIbaMdha doDhI anya jinamaMdiromAM jovA nathI maLatAM evI e benamUna suMdara racanA che. maMdiranA ghummaTo paranI racanAo(saMvaraNa)no sAro paricaya paNa ahIM maLe che. nRtyamaMDapano ghummaTa muslima asarano goLa guMbaja che. paNa tenA kalaza AgaLathI pAMkhaDIo pADI tAjamahelanI jema tenA kaMThanI pAMkhaDIomAM meLavI dIdhI che. gUDhamaMDapanuM sAmaraNa (saMvaraNa) aneka kalazono banelo prAcIna praNAlIno meru (pirAmiDa)ghATa che. tenI bhUmiti vyavasthA ane cokasAI jeI chaka thaI javAya che. dareka kAmamAM gaNita a mApa samajanAra zi9pIonI saMkhyA keTalI haze tenI kalpanA karavI rahI. gUDhamaMDapano moTo baja aMdarathI 24 phaTanA paridhano chatAM mukhya pratimAnA garbhamaMdirInAM paNa zikharo tenAthI vadhAre UMcAI para lIdhAM che. AthI hAra AgaLanAM pagathiyAMthI eka rekhA tyAM sudhI laMbAvIe to bIjI badhI 2canAo anukrame DhALamAM rahe che. nIce UtarI gayA pachI paNa caoNkamAMthI vimAna jarUkhAne judI judI bAjuethI jotAM maMdirane navuM navuM AkarSaNa maLe che. maMdiranA cokanI cAre bAjunI parasALanA dareka staMbhonA mathALe ekeka nRtya ke saMgItanI pUtaLI che. temAM mAtra koI koI kauzalyapUrNa hAthe nirmAyelI manohara hAvabhAvavALI ke sajIvatAbharI maLI Ave che. cakora AMkhane halakuM-bhAre kAma tAravatAM vAra lAgatI nathI. parasALamAM pharatA staMbhonI hAravALI lAMbI cAlImAM najara karatAM alAdakatA anubhavAya che. temAM cAlatAM cAlatAM paNa maMdiranI cAre bAjunI zilpalIlA dekhAya che. AvAM jinAlaya mATe paraMparAsiddha racanA darzAvatA zAstragraMthonuM nirmANa thayuM che. tenuM anuzAsana ane gaNita sAcavIne zilpIone navuM nirmANa karavAnuM hoya che. A maMdiranI uttara-dakSiNa pahoLAI 126 phITa che. bahAranA maM5 (balAka) sivAya pUrvapazcima laMbAI 160 phUTa che. ekaMdare A maMdira amadAvAdanA sthApatyasamUhamAM zeTha haThIbhAInI kIrtinA dhvajasameM hoI dezanA gauravarUpa che.

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virahiNano eka anu bhAvavizeSa zrImatI hIrAbahena rA0 pAThaka ApaNA dezanuM zRMgArarasanuM-temAM ye virahotkaTatAnuM-rasika kAvyasAhitya mabalakha pramANamAM che : * prAcIna tema ja madhyakAlIna banne prakAranuM eTale ke saMskRta, prAkRta, apabhraMza ane amuka samaya sudhInA gujarAtIno temAM samAveza thAya che. vaLI ApaNuM ghaNIkharI prAdezika bhASAo saMskRtamAMthI uddabhavelI hoI keTalIka je atUTa paraMparA temAM jaLavAI rahI che temAM rasocita vaividhya sAthe, tenI bhAvabhaMgiomAM anubhAva vagerenI eka samAna nirUpaNaAyojanAne avicchinna taMtuM cAlyo Avato jaNAya che; je ApaNuM kAvyanI, zAstranI ane tethI ye AgaLa ApaNI saMskRtinI eka anokhI mudrA pragaTa karI Ape che. arvAcIna zRMgAra sAhitya pazcima tema ja anya baLothI prabhAvita hoI, tenI mudrA nirALI che. virahanuM A samagra kAvyasAhitya pAra vinAnuM che-eka mahAnibaMdhanI guMjAzavALuM che-eTale te tamAma to kyAMthI joI zakAya? ahIM mAtra, A lakhANanuM mathALuM sUcave che te mujaba, teno eka viziSTa aMza ja joI zakAya; ane te paNa, ApaNA prAdezika kAvyasAhityanI keTalIka paraMparAnuM mULa jemAM paDeluM che tevI te prakAranI saMskRta kavitAnA paricayanI bhUmikA upara-tenA saMdarbhamAM-te jevuM ka thaze. - bharate saMskRta sAhityamAM nAyikAnI vividha avasthA sUcavatAM mukhya ATha prakAro-vAsasajaja, viraholDaMhitA, svAdhInapatikA, kalahAntaritA, khaDitA, vipralabdhA, proSitabhartRkA ane abhisArikA ApelA che. pAchaLathI tenA anya prabhedo ThIkaThIka saMkhyAmAM paDelA che; eTaluM ja nahi, tene anya vargIkaraNa joDe sAMkaLavAmAM AvyA che. bhAratanuM A vargIkaraNa zRMgAradaSTie nAyakane avalaMbIne nAyikAne udbhavelA ratibhAva parathI racAyeluM che, je tene ApelA pAribhASika nAmakaraNathI spaSTa thaI jAya che. ahIM ApaNe je nirUpaNa jevAnAM chIe temAM virahonkaMThitA ane proSitabhartakA uparAMta vipralabdhA ane anya nAyikAno samAveza thaI zake, kAraNa, ochAmAM ochuM, jyAM kRSNa nAyakarUpe hoya

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virahiNano eka anubhAvavizeSa: 273 tevA ApaNA dezanA sAhityamAM nirUpita gopIonI dazA keTalIka veLA vipralabdhAnI che, to keTalIka veLA khaMDitAnI paNa jaNAya che, kAraNa, vipralabdhA ThagAyAne kAraNe vaMcitA che; te khaMDitAne mATe pati ke priyanuM anyagamana te virahanuM ane anyopabhoga bAdanuM Agamana tenA mAnakhaMDananuM kAraNa che; jyAre kalahAMtaritA, patinA karelA avamAnane kAraNe pazcAttApa anubhavatI patinaihavaMcitA che. A pAMce prakAranI nAyikAnI snehadazAnuM eka samAna tatva te viraha che. e viraha, tenAM svarUpa, samaya ane guNabaLanI kakSAmAM alaga prakArano ne taratama koTino hoya, e svAbhAvika che; kemake A nAyikAonAM virahanAM nimittakAraNe alaga alaga hoI temanI avasthA ye niranirALI che. eTale ApaNe ahIM mukhya proSitabhartakA ane viraholaMDitAnA virahane ja jaIzuM ema nizcitapaNe nahi kahI zakAya. tenuM eka bIjuM kAraNa paNa che. ahIM ApavA dhArelAM keTalAMka avataraNa te prakIrNa subhASito-duhAogAthAo che, je saMdarbharahita hovAne kAraNe, temAMthI nAyikAno prakAra avazya kaLAya ja, ema nahi. eTale vadhAre cokakasapaNe viSayane ADa bAMdhI levA mATe ema kahIzuM ke jyAM nAyaka ane nAyikA ubhayAnakUla che--manomeLavALAM-anurakta che, paNa bAhya paristhiti pratikULa che, temanA virahanI abhivyaktinuM eka sAmAnya svarUpa ApaNe tapAsIzuM. e daSTie, tevAM udAharaNe jemAMthI sahelAIthI maLI zake tevI nAyikAo virahoektiA ane proSitabhartRkAne lekhI zakAya. mATe sahu pahelAM, ApaNe viraholaMkitA ane proSitabhartukAnI vyAkhyAthI paricita thaIe, kAraNa, ApaNe jevA dhArelAM avataraNe te bannenI--ne temAM ye proSitabhartukAnI avasthA dekhItI rIte vyakta karI Apaze. bharate kathelI viraholDaMDitAnI vyAkhyA joIe : anekakAryavyAsaGgAdyasyA nAgacchati priyaH / tasyAnugamaduHkhArtA virahotkaMThitA matA / / -bharatanATyazAstrama, adhyAya 24, zloka 206. arthAta aneka kAryanA rokANane lIdhe jeno priya Avato nathI tethI uddabhavatA duHkhathI Arta te virahAkuMThitA manAya che." bharatanI vyAkhyAthI sAhityadarpaNakAranI viraholDaMhitAnI vyAkhyAmAM jarA phera che. te kahe che : AvavAnI IcchA karelI chatAM, deve karI jeno priya AvI zakato nathI tenA na AvavAthI je duHkhita hoya te virahoekitA kahevAya."1 vizvanAthe devanI pratikULatA kahI, spaSTa rIte nAyakanI patnIjhavaNutA batAvI che, je bhAratanI vyAkhyAmAM nathI. paNa ubhayanA nirUpaNamAM nAyikAno virahasaMtApa nizcita che. proSitabhartukAnI vyAkhyA tenA svarUpolekhasahita bharate nIce mujaba ApI che : gurukAryAntaravazAdyasyA viproSitaH priyaH / sA rUkSAlakakezAntA bhavetproSita bhartRkA // -ejana, 24mo adhyAya, zloka 211. 1 AgantuM kRtacitto'pi daivAnnAyAti yatpriyaH / tadanAgamaduHkhArtA virahotkaMThitA tu sA // -vizvanAthapraNIta sAhityadarpaNa, tRtIya pariccheda, zloka 86. su0 gra018

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274 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha arthAta---- "koI bIjA guru kahetAM mahattvanA kArya arthe jeno priya pravAse gayo hoya ane jenA keza RkSa ane chUTA paDI gayA hoya (kezasaMskAravinAnI hoya) te proSitabhartRkA che." tyAre sAhityadarpaNakAra bhAvane vadhAre sphuTapaNe pragaTa karIne kahe che : " nAnAvidha kAryavazAt jeno pati ra deza gayo hoya tethI karIne kAmapIDAte nAyikA te proSitabhartRkA kahevAya.'" 2 bhAnudatta mujaba vecAntarazate preyatti saMtAvanyAyu,jA moSitamatuMjA / 3 matirAme e ja bhAvArtha hindImAM Ama mUkI Apyo che : " gALo viya paradezameM vida viruddha tiya hoya." (20 20 : 111).4 * A mujaba zAstranirUpita ubhaya nAyikAonuM virahasvarUpa che. bharate varNavela A aSTanAyikAprakArane sAhityadarpaNakAre cAlu rAkhela che. dazarUpakamAM paNa te che. e banne grantho bharatanA nATyazAstra bAda racAyA che eTaluM ja nahi, e banne graMthomAM bharatanA nAyikAprakAra uparAMta navA nAyikAbhedonAM vargIkaraNo umerAyAM che ane te bharatanA vargIkaraNane lAgu pADelAM che, je ApaNe pachIthI joIzuM. A nAyikAo, virahane kAraNe, je ' anu' kahetAM pazcAt kAyika, mAnasika AhArya (vezane lagatAM) tathA vAcika abhivyaktinAM prayojaka pariNAmo - gito anubhave tene anubhAva kahe che. A anubhAvo, nAyikAnA bhAvarUpa kAraNanAM, pratyakSa thatAM IMgito--kAryo che. hindI sAhityakozamAM koI * deva'nI anubhAva vizenI nIce mujaba vyAkhyA che : AvA anubhAvo asaMkhya che. paNa ApaNe temAMthI eka viziSTa aMza jovA dhAryo che; ane te nAyikAnA eka ja aMgane lagatA maryAdita anubhAvo joIzuM. A aMga te hAtha che--gujarAtImAM ApaNe jene AkhA hAtha lekhe oLakhIe chIe te. tenAM upAMgo che bAhu, koNI, kAMDuM, hasta ne karatala tathA AMgaLIo. nAyikAnAM e aMgonuM svarUpa eTale ke dazA, teno vinyAsa tema ja tenAM kAryovaDe je anubhAvo sarjAya te tenI virahadazAnA dyotaka che. prathama ApaNe saMskRta kavitAmAMthI tevA namUnA para UDatI najara nAkhIe. tyAM ane prAkRta ityAdimAM te mukhyatve atizayoktialaMkAra tathA utprekSA, pariNAma ane kAvyaliMga ityAdi alaMkAronI bhaMgIvaDe nirUpAyA che. AvAM avataraNono saMcaya abhyAsIne saMskRta saMdarbhagraMtha ' subhASitaratnabhAMDAgAram'mAM pratyeka nAyikAvibhAga heThaLa sAhityamAMthI tAravI laI mUkelo jovA maLaze. te joI e te pahelAM, kAvyaprakAzakAre amaruzatakano eka zloka, proSitabhartRkAnA daSTAMtarUpe tevA anubhAvanA varNanavALo hoI TAMkayo che te laI e : jinako nirakhata paraspara rasako anubhava hoI / inahIMko anubhAvapada kahata sayAne loI 3 4 2 nAnAkAryavazAdyasyA dUradezaM gataH patiH / sA manobhavaduHkhArtA bhavetproSitabhartRkA // prasthAnaM valayaiH kRtaM priyasakhaira sairajasraM gataM dhRtyA na kSaNamAsitaM vyavasitaM cittena gantuM puraH / yAtuM nizcitacetasi priyatame sarve samaM prasthitA gantavye sati jIvita ! priyasuhRtsArthaH kimu tyajyate 1 // ----kAvyaprakAza, ullAsa 4, zloka 35. --ejana, tRtIya pariccheda, zloka 84. hindI sAhityakoza : proSitapatikA (nArzikA), pR0 49. jana.

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virahiNano eka anubhAvavizeSa: 275 teno gujarAtI anuvAda "hAlAM kaMkaNa nIsaryo, vahI rahyAM codhAra AMsu, ghaDI besI nA rahI dhIra, AgaLa javA citta thayuM AkaLuM; jAvAno karatAM vicAra piyujI sAthe badhAM nIkaLyAM, jAvuM che jIva! to pachI kyama javA de sAtha hAlAMtaNe?" -kAvyaprakAza, gujarAtI anuvAda, gujaH purAtatva maMdira graMthAvali. ahIM e proSitabhartRkA bane te pahelAM ja, ene "haiDe te zeSa na mAya re" evI virahadazA ane tene aMgenA anubhAvo udabhavyA. temAM nAyikAno hAtha dabaLo paDatAM ne valaya moTAM paDatAM UtarI javA lAgyAM; evo, hAthane lagato anubhava che. ahIM valayavaDe nAyikAnuM phINava-kSAmapaNuM sUcavAyuM che. ApaNe AgaLa joIzuM ke A valayaDe sUcavAtI kSINatAnuM parimANa TheraThera-badhA sAhityamAM hovAnuM mAlama paDe che. sAthe sAthe ApaNane medhadUtano nAyaka yakSa, patnIvirahane kAraNe navacaMkhrazarittAprojha: avasthA anubhavato batAvAyo che, tenuM smaraNa thAya; athavA virahotkaMThita rAjA duSyantanA saMtAnava"nuM paNa smaraNa thAya. tema chatAM ekaMdara virahiNInA nirUpaNanI tulanAe nAyakanA virahanuM nirUpaNa jUja hoya e sahaja che. A valayo paNa be sthAnanA nirdezaka banIne Ave che. eka, bAvaDA paranuM, jene ApaNe bAjubaMdha tathA kaDuM kahIe chIe. bIjuM, kAMDA para ramatuM-kaMkaNasvarUpanuM. bAvaDA paranA valaya aMgenuM eka kRSNa pratyenA premanuM suMdara avataraNa e saMdarbhagraMthamAM che, ane te proSitabhartRkA gopInI kRzatAnuM atizayokti alaMkAramAM varNavAyeluM. kevaLa gujarAtI bhASAntara joIe-zakya teTalA mULa saMskRta zabdanI rajUAtathI, tenI kAvyasuvAsa jaLavAI rahe te rIte joIe : harinA prayANathI, e suzvanI kamaLanI kaLIonI pAMkhaDIothI banAvelI mALA ane motInA hArano kaMdoro nIce sarI paDyAM. ane vadhumAM kahIe to..." juo mULa saMskRtamAM- " anya jJAna dina dhananI vartata vA na ti jJAnuM varada va8ce vALamUa prathAti " eTale ke, "enI nADI cAle che ke nahi te jovAne mATe (bAvaDA paranuM) valaya cheka pANimUla-kAMDA sudhI pahoMcI gayuM." -"subhASitaratnabhAMDAgArama', proSitabhartRkA khaM, zloka 84. ahIM valaya, bAhu-bAvaDA paranuM che; ane to ja camatkRtivALI atizayokti nIpajI zakI che, kemake, kavino Azaya ema kahevAno che ke eka bAvaDethI saratusaratuM te kAMDAlagI UtarI AvyuM eTalI te kRza thaI gaI! ahIM atizayokti saMge sajIvAropaNa subhagapaNe saMyojAyo che, je kavitAnI mAtrAne duharAvI Ape che. bIje eka sthaLe khedasUcaka hastamukhavinyAsavaDe kAyika anubhAva varNavAyo che, ane sAthe sAthe tyAM, hAtha paranA alaMkArarUpe mRNAlanA valayanuM nirUpaNa che. motIonI sAthe harIphAI karatAM evAM pApamAMthI garatAM AMsuonAM bindusamUhathI mahAdevanA aTTahAsyanuM anukaraNa karatA hArAvalirUpa bhUSaNane hRdaya para rAkhI, kumaLA mRNAlanA valayathI

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ra76 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha alaMkRta thayelA hAtha upara mukhane goThavIne AyatAkSI bAle! kyA puNyazALIne tuM smarI rahI che?" -saMrakRta-marAThI subhASita koza, khaMDa dusarA, prakaraNa 31, pravAsa viraha I. vibhAga. ahIM virahiNano valayAbhUSita hasta joyo, to eka anya blokamAM khinna viyoginI priya prayANane kAraNe AbharaNene aMge suddhAM aDADatI nathI te jaNAvatAM kahyuM che: pInastanakalaza para laherAtA hArane dhAraNa karatI nathI ane vIMTIne paNa (AMgaLI vaDe) sparzatI nathI." -subhASita, viyoginyA avasthAvarNanama , zloka 42. te pachI, pote ja potAnA bAhune AzleSatI eka virahotkaMThAnuM, tenI utsuka dazAnuM varNana juo : priyano saMga sUcavatA phuraNavALI evI vAmabAhu latAne, pulakathI mukulita banelAM aMgovALI te viyoginI, punaH punaH AzleSe che, jue che ane cUme che." -ejana, zloka 9. eka zlokamAM nAyikAnI virahavyagra dazA suMdara rIte nirUpAI che. te nIce jaNAvyA mujaba candranI zItalatAnA saMtApa hAthathI dUra karatI hoya che : koI eka kRzAMgI, vananAM vRkSonI chAyAmAM visAmo letI letI, hAthathI pakaDI rakhAyelA uttarIyathI candranAM kiraNone nivAratI nivAratI cAlatI hatI." -ejana, zloka 16. prastuta avataraNamAM hAthanA upayoga vaDe virahadazA sUcavAI che, to eka anya zlokamAM tethI viparItapaNe-eTale ke hAthano upayoga na karIne-niSedhAtmaka anubhAvavaDe viraha vyakta thAya che ? "sAsu je padmadala Ape che tene potAnA hAthathI grahe to tenA cacarATathI te baLI jAya evI AzaMkAe te hAthathI na letAM bhUsaMjJAthI svIkAre che." -subhASita, proSitabhartRkAvarNanama, zloka 87 paNa A hAtha ane tenI AMgaLIone AthI vizeSa rasikapaNe ne sarjanAtmakapaNe prayojavAnuM saMskRta kavioe kareluM che! yakSapatnI vizena meghadUtano pelo prasiddha ka- zeSAnmAsAnvirahadivasasthApitasyAvadhervA vinyasyantI bhuvi gaNanayA dehalIdattapuSpaiH / -uttaramegha, zloka 24 (pUrvArdha paMktio) athavA tethI AgaLa- matsAhazyaM virahatanu vA bhAvagamyaM likhntii| -ejana, zloka 22.5 juo kIlAbhAI ghanazyAma anuvAdita madhadUtamAMthI uparanI paMkitaonuM bhASAMtara : para pahelAM bAMdhI avadhamahIM je mAsa bAkI rahelA. beThI haze gaNatI kusumo mUkIne uMbarAmAM." patra " kalpI mArI kRza chabI, haze kADhatI citramAMhe."

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virahiNano eka anubhAvavizeSa : 277 Ama hAthavaDe uMbare phUlo mUkIne avadhisamaya gaNatI athavA priyanuM citra AlekhatI-sarjatI nAyikA kemekeme potAnA virahavasamA divaso vitAvatI najare paDe che. paNa jene kadAca rItasara akSarajJAna nahi ke a85 haze evI nAyikA mATe priyaprayANanA divaso gaNavAnI to khAsa eka anya rUDhi hatI avadhidivasonI rekhAo bhIMta para AMkavAnI ne pachI gaNavAnI! paNa eka zlokamAM e AMkelI rekhAone na gaNavAnuM-nakArAtmaka nirUpaNa tenI virahabhIrutAnuM sUcaka cheH " jharaNAMnI jema vahetAM AMsuothI jenAM lamaNAM dhovAyAM che evI e bAlA avadhinA divasonI saMkhyAnI rekhAo ke che kharI, paNa gaNatI nathI--evI AzaMkAthI, rakhe ne avadhi-divasa vItI jAya!" - subhASita, viyoginyA avasthAvarNanama, zloka 6. ahIM nAyikAno potAno bhaya pragaTa thayo che, to prAkRta sAhityanI eka gAthAmAM nAyikA arthe tenI sakhIono ucATapUrvakano bhaya pragaTa thayo che, eTaluM ja nahi, te nAyikAthI ajANapaNe sakhIkRtya bajAvI tene mithyA dhAraNa ApI rahI che : ohidisahAgamAsa kirIhi sahiAhiM kalihiAo do tiNi tahiM cie coriAe rehA pusijarjati " arthAta--"avadhinA divaso pUrA thatAM enuM Agamana thaze ke kema evI AzaMkA dharatI sakhIo bhIMta para dorelI (divasa sUcaka) rekhAomAMthI betraNa corIchUpIthI bhUMsI nAkhe che." A avadhirekhA vizenI vizeSa suMdara bIjI be prAkRta gAthAo A rahI H jhaMjhA-vAuttiNia-ghara-vivara-paloTTa-salila dhArAhiM. kulihiohi-diahaM rakhaI mudhdhA karaalehi." "jhaMjhAvAtathI chAja uDADI devAyAne kAraNe gharanAM vivaramAMthI, eTale ke chAparAnAM bAkorAMmAMthI, paDatI saliladhArAthI bhIMta para ALakhelI avadhi-divasanI rekhAonuM, mugdhA karatalavaDe rakSaNa kare che." A gAthA khetIpradhAna jIvanarItinA parokSa sUcanavaDe virahabhAvane vyakta kare che. jema Aje ne tethI vizeSa jUnA samayamAM varSAraMbha pUrve ghara paranuM chAja sarakhuM karavAmAM AvatuM, jethI varasAdanA jalathI gharano aMdarano bhAga surakSita rahI zake. paNa je gRhastha te samaye pravAse hoya tenuM ja ghara jarNa chAjavALuM hoya ne? tevA gRhavALI proSitabhartRkAnuM anukaMpA jagADe tevuM A tAdaza gatimAna citra che. ahIM ekAkinI virahiNInuM muzaLadhAra varSArAtrI samayanI nodhAra avasthAnuM ane priyane kAraNe jIva TakAvI rAkhyAnuM hRdayadrAvaka citra nathI ? nahitara zA mATe te vardhAjalathI potAne uvekhIne rekhAonuM rakSaNa kare? keTaluM badhuM viziSTa vIgatarekha ane bhAvasabhara citra! jANe ke sAkSAta raMgarekhAsaMpanna tejachAyAmizra citra ! athavA kaho ke citrane kAvyanI paribhASA sAMpaDI ! to eka bIjI evI bhAvaprabala gAthA : ajaja gatti, ajarja gatti, ajarja gatti, gaNirIe paDhame cie diahadhe ku rehAhi citta lio. arthAta--""Aja gayo', "Aja gayo, "Aja gayo' ema gaNIgaNIne pahelA divasanA ardhabhAgamAM ja teNe) rekhAthI bhIMta cItarI mUkI !!" ahIM "Aja gayo' e pada mAtra trevaDAvIne, nAyikAnA mananA tIvra raTaNa dvArA virahanA tAjA ghAnI baLatarA keTalI bhArapUrvaka pragaTa karI che ! bhAvanI svakIya prabaLatAe svabhAvokata nirUpaNathI

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28: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava cantha sacoTatA sAdhI che ane vAcika tema ja kAyika bane anubhAvathI bhAvanI vedhakatA-mArmikatA saraLatAthI siddha thaI zakI che. have avadhi divasonI utsuka gaNatarIno, eka apabhraMza sAhityano duho jovAno rahe che. hemacaMdranA vyAkaraNanA avataraNarUpe te tyAM TAMkelo che? "je mahu diNa diahaDI daIe pavasaMteNI tANa gaNuMtie aMguliu jajajariAu naheNA" arthAta -"pravAse jatAM priyatame mane (avadhinA) je divaso dIdhelA, te gaNatAM (gaNatAM mArI) AMgaLInA nakha jarjarita thaI gayA." -siddhahema gata apabhraMza vyAkaraNa, saMpAdaka ha0 cubhAyANI, 50 6. saMbhAro mIrAMnA beeka padanI kaMIka AvA ja-maLatA AvatA anubhAvavALI paMkti : "Au AuM kara gayA sAMvarA, kara gayA kaula aneka gitA gitA dhisa gaI re mhArA AMgaliyArI rekha." -sastuM sAhitya saMpAdita mIrAMbAInAM bhajano, pada 132. mIrAMnI AmAMnI pahelI paMktino bIje pATha, anya saMgrahonA A ja padamAM, nIce mujaba maLe che : "sAvana Avana kaha gayA bAlA, kara gayA kaula aneka" to eka bIjA, virahanA uccAravALA ne zabdamAdhuryavALA padamAM pelI binA pharI pAchI Ave che? "dezavideza saMdeza na pahuMca, hoya aMdezA bhArI : ginatA ginatA dhisa gaI rekhA, AMguriyAkI sArI : ajahUM na Aye murArI." -"mIrAMbAI-eka manana', lekhakaH maMjulAla majamudAra evI A mIrAMnI paMktiono bhAvasagaDa cheka apabhraMza sAhityamAMthI maLI Ave che. virahanA AvA saMtApathI kevaLa nAyikA ja baLajhaLI nathI, tenA saMbaMdhaka jaDa padArtho paNa jaLe tevuM AgaLa AvelA kamaLanA daSTAMte pratIta karyuM. hemacandranA vyAkaraNanA vaLI eka apabhraMza duhAmAM e anya padArthano ullekha thayo che-paNa, paNa tene jaDa kema kahevAya? kAraNa te to nAyikAno saubhAgyasUcaka cUlo hoI vizeSa jatanane yogya ! virahavyathAnA AkarA saMtApathI ane pachI azrujaLathI te siMcAya, to naMdavAI ja jAya ne ! e vaijJAnika binAne AdhAre, tenI jAtane virahavyathAthI vArI levA ahIM samajAvAyuM che: "cuDullI cuNIhoisaI mudhdhi kavoli nihittau| sAsAnala-jAla-jhalakikAu bAha-salila-saMsittauM !" arthAta-mugdhA! gAla nIce (= gAle) rAkhelo (ne tethI) ni:zvAsAgninI jhALathI tapI gayelo (ane) azrujaLathI sIMcAyelo (tArA) cUDalo cUro banI jaze." siddhahemagata apabhraMza vyAkaraNa, saMpAdaka : ha0 cuta bhAyANI, pR. 58.

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virahiNano eka anubhAvavizeSaH ra79 A uparAMta nAyikAnI virahadazAe alpacetana padArthanA pratibhAvo ye jagADyA che eka prAkRta gAthAnuM dRSTAMta : "pAsAkI kAo Rdi diNuM pi pahiaghariNIe saMta-kara logalia-valae majha-dvie piMDe." arthAta--"pathikanI gRhiNIe Apelo (ane) je namatA hAthamAMthI sarI paDelA kaMkaNa vacce rahelo evo balipiMDa (tene) phAMsAnI AzaMkAthI kAgaDo (khAvA) icchato nathI." - ethI ye AgaLa nAyikA sAthe saMbaMdha dharAvanAra jIvaMta, viziSTa-are! vizeSapaNe kahIe to eka ugra vyaktino pratibhAva-samabhAva jANavA jevo che ! juo gAthA : aIkovaNA vi sAsu AviA gAvAIasohAe pAa-paDaNoNaAe dosu vi galiesu valaesu " arthAta-page paDavA namI tyAre baMne kaMkaNu sarI paDatAM, proSitapatikAe ugra svabhAvanI sAsunI AMkhamAMye AMsu ANI dIdhAM!" AvAM, valaye sUcavelI kSINatAnAM bhAtabhAtanAM citro saMskRta, prAkRta vagere tamAma sAhityamAMthI sAMpaDe che. keTalAMka to ghaNAM suMdara che. eka bhAvasuMdara gAthAmAM proSitabhartukAnI mugdha mUMjhavaNa taLe caMpAyelo-dabAyelo tene vivAda ghaNuM sukumAra bhAvathI-tenI mRdu vANIthI pragaTa thAya che. kautuka ane viSAdathI, te potAnI parathI anya proSitapatikAonI kRzatAnI saMbhAvanA karI, aMte to potAno ja viraha vyakta karatI hoya che! tyAM sarvane othe potAno bhAva vyakta karatI e nAyikAno ardharasphaTamugdha vivAda savizeSa vedhaka bane che : sahi! sAhasu sabhAveNu puSTimo kiM asesa mahilANuM vati kara-Thia riyA valaA daie palvami. eTale ke--"he sakhI! kahe to kharI, huM sAce ja pUchuM chuMzuM priyatama pravAse jatAM badhI ya strIonAM kaMkaNa (Ama) hAthamAM paDyAM paDyAM ja moTAM thaI jatAM haze ?" eka bIje che valayano saMdezaduho : "saMdezA guNa vattaDI huM kahivA asamartha ekaI valai jANijyo, sanmANa be hatha." arthAta "he priya! huM saMdezAmAM guNakathA kahevA asamartha chuM. mAtra eTaluM jANaje ke eka ja valayamAM mArA banne hAtha have samAI jAya che." paNa A duhAnI pahelAM, barAbara A ja arthano-kahevApUratA zabda phera-apabhraMza sAhityano duho jovA maLe che. tenI pachI uparano duho racAyo che. e duho 13mI sadInA abdula rahamAnakRta sadezarAsaka mAM che. prastuta avataraNamAM potAnA banne hAtho eka ja valayamAM samAI javAnI kRzatA 6 juo saMdezarAsaka- " saMdezaDau savistharau hau kahaNaDa asatya bhaNa piya ikata baliyaDa be vi samANa haO." | 80 // eTale ke "saMdezo savistara (che eTale) huM kahevA asamartha chuM. kaheje piyane (ha) eka ja valayamAM be ya hAtha samAI jAya che."

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280 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava cantha pratyakSa karI che. evI saMpUrNa--soe so TakAnI, ane te ya samAna aMgonI tulanAvaDe vyaMjita thatI e kazatA che. paNa potAnAM be judAM judAM aMgo vaDe sUcavAtI tulanAtmaka kSAmatAnA nirUpaNano eka saMdezAsakano bIjo-AgaLanAnI paDakhe ja mUkelo duho che : saMdezasu savitthara3, para maI kazuM na jAI je kAlaguli muMdaDau so bAhaDI samAI | 81 | eTale ke "saMdezo savistara (che) paNa mArAthI kahyo na jAya. je TacalI AMgaLInI mudrikA te bAhumAM samAI jAya che." A ne A kRzatAnI binA mIrAMnA eka padamAM, tenI AgaLa AvelI paMktine kAraNe vizeSa tIvratAthI kahevAI che ? mAMsa gele gala chAjiyA re, karaka rahyA gala Ahi; AMgaliyArI cUMdaDI vhAre AvaNA lAgI bAMhI." -mIrAMnAM pado, saMpAdakaH bhUpendra trivedI, pR. 186, pada 21 (pAMtaravALuM) ApaNe joyAM e daSTAMtomAM to, eka ke vibhinna prakAranAM paNa nAyikAnAM potAnAM ne potAnAM ja be aMgone samIpa mUkI batAvI tulanAthI kSINatA pratyakSa karI. paNa ethI che eka duzyama daSTAMta, jeNe vizeSa camatkRti sAdhI che. koI eka paraMparAnA rAdhAkRSNavirahanA mAsanA sAMbhaLelA gItanI te paMktio che? "mahA mahine mana mAruM, maLavAne mana akaLAya re; harinI TacalI AMgaLIkarI muMdrikA, mArI daze AMgaLIyo samAya re; ho rAma ! zrIkRSNa dvArakAmAM jaI rahyA." ahIM kRSNanI eka ane te ya TacalI-je TacUkaDI AMgaLI, tenI barAbara potAnI daza AMgaLIonI, paraspara saMgenI tulanAthI kSINatAnI mAtrA gherI banI che. ane e atizayokti, virahatIvratAnI bADha batAve che. have eka chello valaya vizeno, viraha ane milananI bhAvasaMdhivALo hemacaMdra uddata karelo apabhraMza sAhityano pracalita suMdara duho joIe: vAyasa uThThAvatiae piu diThau sahasatti, addhA valayA mahihi gaya, addhA suda taDatti" kAmacalAu gujarAtImAM vAyasane uDADatA piyu dITho sahasAja, ardha valaya mahI para ane ardha taDAka tUTata. have rahe che chevaTe jovAno eka hastAvalaMbI anubhAva ? ane te patralekhanano. zAkuntalamAM virahospaMditA zakatalAno " zakodarasukumAra nalinIpatra" parano patraloka ApaNe vAMcyo che. eTaluM ja nahi, mIrAM jevInA padamAM proSitabhartRkA vizenA paradeza vasatA piyune "likhilikhi bhejata bAMtI"nA

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virahiNIne eka anubhAvavizeSa : 281 ullekhaye jANIe chIe. e mIrAMnA eka bIjA, saMgrahita nahi thayelA ane pahelI ja vAra prasiddha thatA padamAM hastavaDe thatA pratyakSa patralekhanano ullekha maLe che te ApaNe joIe ? pada 1. rAga soraTha kese likhuM, likhIyo na jAya, patIyAM; kese likhuM. kalama bharata mero kara kaMpata che, hiyaDo rahyo thararAya--patIyAM vAta karuM to mujhe bAta na Ave, naNa rahyA jhararAya patIyAM mIrAM ke prabhu giradhara nAgara, rahI chuM madhu 5ra chAya-- patIyAM" kira zAhImAM boLavA mATe upADelo kara kare che ane hAtha sAthe haiyuM paNa tharake che : evI viraha amUMjhaNa anubhavatI nAyikA che. ApaNI prAcIna kALanI sAmAjika sthiti ane strInuM a95 akSarajJAna chatAM patralekhanane paNa virahiNIno eka svAbhAvika hastAvalaMbI anubhAva lekhI zakAya. ahIM ApaNe saMskRtathI mAMDI gujarAtI sAhityanA hastAvalaMbI vividha anubhAvonAM avataraNa joyAM. temAM nAyikAno zokasaMtApa, kRzatA, AbharaNe aMge ya na aDADavA jevuM tema ja jagatanA padArtho na bhogavavA jevuM utkaTa asukha, milanasukatA, avadhidivasonI utsukatApUrvakanI gaNatarI ke na gaNavAnI virahabhIrutA, virahavardhaka padArtho prati abhAva, patrasaMdeza, priyamilananI Arata ane tene abhAve tenA upasthita karelA AbhAsathI thatuM sukha ne teya racavAnI nAnAvidha rItio- AvA virahanivedananA bhAtabhAtanA bhAvonI-kaho ke anubhAvonI raMgapUraNI thayelI che. AvI bhAvasamRddhine kAraNe rasazAstranI dRSTie zRMgAranuM rasa tarIke AdhiSya svIkArAyuM che; ane temAM ye viyoganA bhAvane vizeSa Adhiya maLe e sahaja nathI ? A virahajanya aprApya prema tIvra jhaMkhanAnI tINa sarANe caDhIne vedanAne avirata ghasarakA veThIveThIne temAMthI AvA koIka zlokagAthAduhAgItarUpe je tikhAravA uDADe che te ja zRMgArane saMvedanAnI dhAravaDe sateja kare che. mAnasazAstranI dRSTie avarodhane kAraNe "vedanAnA mAdhyama vaDe premane paNa garimA prApta thAya che." e garimA pAchaLa jeTalI bhAvanI tIvratA-vedhakatA-mArmikatA rahI che, teTalI bIjI bAjuthI enAM antargata varNanomAM adhika bhAvAtmaka vistAranI samRddhi ya rahI che. virahane kAraNe udbhavatI bhAvAkulatA, bhAvavivalatA, zArIrika uddega tema ja javara ane durbaLatA, pANDatA I vyAvi, mAnasika kaleza, saMtApa, vyathA, pIDA, vedanA (A badhA zabdo samAnArthI chato, A saMdarbhamAM te vividha arthachAyAothI yojAya che), vividha RtuonA uddIpaka svarUpathI janmatA pratibhAvo, viyogasambandhita 10-11 dazAo jevI ke abhilASa, cintA, smRti, guNakathana, udvega, pralApa, unmAda, vyAdhi, jaDatA, mRti athavA mRtyu ane mUcha-A ane AvI vividha sthitionuM suMdara vyaMjanApUrNa saMvedaka citraNa-aMkana thayeluM che. virahanivedananA sAhityanirUpaNamAM AvI sabhara ane saMtarpaka vividhatA che. vaLI, ApaNe joyelA eka viziSTa aMzamAM paNa sArI evI bhAvasamRddhi che. 7 lekhanuM nAma: prAcIna dezIbhASAgrathita prakIrNa sAhitya, saMpAdaka: munizrI jinavijayajI; "bhAratIya vidyA'(saMzodhana viSayaka hiMdI-guja0 saimAsika patrakA), varSa 1, aMka 4.

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ra8ra : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI ane Ama chatAM ema nathI jaNAtuM ke ApaNI tamAma bhASAomAM tenI rajUAta eka viziSTa ane samAna nirUpaNarItithI uThAva pAmI che ? kaMIka navIna kAvyAtmaka-camatkRti sahita e ja aMga. aMgasaMcAlana ke evI tenI koI dazAthI virahabhAva vyakata thayo che? uparyukta udAharaNa teno purAvo che. A pramANe ekasarakhI nirUpaNaparaMparA pAchaLa kaMI kAraNa? AgaLa kahyuM tema samAna saMskRtithI te mudrAMti che. - bhAratavarSa jevA vizAla dezanI eka samAna saMskRti pAchaLa, saikAo lagI tenuM samAna prakAranuM samAjajIvana ekadhAruM cAlu rahyuM hatuM, je ApaNane khabara che. musalamAnonAM AkramaNa chatAM tenA hADamAMthI te kadI hacamacI UThayuM nahotuM. cheka aMgrejonA-pazcimanA saMparka pachI ja temAM Uthalo Avyo. tyAM lagI deza, vyApaka evA rUDhiniyaMtrita ane dharmazAstrabaddha jIvanAcAravaDe TakI rahyo hato, TakI rahevA macyo hato. ane chApakhAnAMnA pracAranI zakyatA na hovAthI samAjanI e rUDhiparastI ne zAstraparastIne poSaNa maLyuM. je kaMI navo unmeSa samAjajIvanamAM utpanna thato te dhImI, paNa sthira gatie prasarato. tene rUDha banatAM sAro evo samaya pasAra thato. eTale te je prANabaLavALo hoya to bhale dhIre dhIre paNa ekathI bIje sthaLe pracAra pAmI prasarato ne jIvato; ne saMskRtinA baLarUpe sacavAto. eTale zarU thayelI koI paNa laDhaNa pramANe cAlavAmAM mahimA gaNAto. vaLI mudraNayaMtranI nIpajarUpa mudrA jeTalI nizcita thaI. pachI apane paDI loka racimAMthI UtarI jAya tevuM banavA pAmatuM nahi, A rUDhimahimAne kAraNe kavine ya koInuM laIne cAlavAmAM, Aje lAge che tevI, nAnama jaNAtI nahi. koI sabhara nadI jema sthaLe sthaLethI ekaThA thatA bharapade kAMpa sAthe AgaLa cAle, tevuM jIvanakavananI rasamanI bAbatamAM banatuM. A rUTa paraMparAnuM AtyaMtika svarUpa te jUnAM kAvyomAM AvatAM-mukAtAM rUDha yAdIrUpa varNano che; je ApaNI madhyakAlIna sAhityanI aneka kRtiomAM beThAM ne beThAM mUkI devAtAM, ane temAM ziSTamAnya vidvattA lekhAtI. premAnaMda jevo paNa amuka sahya ne hRdya aMze tema karavAmAMthI bAkAta rahyo nathI. A ja kAraNe virasAhityanI, ApaNe joI tevI nirUpaNaparaMparAne TakAvI rAkhI hatI. paNa tevuM sAcuM sAhitya rUDha chatAM nirjIva nathI tenI pratIti ApaNane ahIMnAM avataraNothI thaI che ane te ja ApaNI saMskRtinI jIvaMta mudrA che. A pUruM karIe te pahelAM, saMskRta kAvyazAstranA nAyikAbhedanA vargIkaraNa aMge eka saMzayaprazna, abhyAsI samakSa vizeSa nirIkSaNaparIkSaNa mATe mUkI jevo Avazyaka jaNAya che. te pahelAM, ApaNA kAvyazAstra vize eka bAbata kahI devI joIe ke tenI ekaMdara yojanAmAM je sUkSma tema ja sArI evI mAnasazAstrIya-samAjazAstrIya sUjha rahelI che te tenI tattvavimarza zaktine AbhArI che. ApaNAM kAvyazAstrakAro paDadarzana ane temAMnA nyAya vagerenA aThaMga abhyAsI hoI prabaLa evI pramANuzAstranI zistamAM paloTAyelA hatA. ne tethI temanI kAvyazAstrapravRtti sahara hoI niHzaMka TakI raheze. prazna che proSitabhartakA athavA proSita patika nAyikA aMgeno. AgaLa joI gayA tema bharate varNavelA aSTa nAyikA prakAro uparAMta nAyikAnA anya prakAranA bhedo pAchaLathI umerAyA ane tene lAgu karAyA che, kAraNa, samAjajIvananI ghaTanAo kAvyamAM jhilAtI, to kAvya parathI zAstra tevAM navAM navAM vargIkaraNa jemajema sUjhatAM jAya tema racavA mAMDyAM. Ama, vIyA ke svakIyA, parakIyA ane sAmAnyAnA prakAranuM eka vargIkaraNa bhAratanA vargIkaraNabAda jovA maLe che. ane bharatanA pratyeka prakArane pelA "lAla pILo ne vAdaLI jevA traNe prakAra lAgu pADelA che. ApaNA muddApUratuM spaSTa karIe to, kAvyazAstra svIkArela che te mujaba proSitabhartRkAne svakIyA, parakIyA ne sAmAnyA-evA traNa prakAranA vargIkaraNa heThaLa mUkI zakAya evuM ene vivakSita jaNAya che. paNa ema

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virahiNIno eka anubhAvivazeSa : 283 eka vargIkaraNane khIjuM vargIkaraNa daraveLA te sAMgopAMga lAgu paDI zake kharuM? ane lAgu paDatAM, daraveLA temAM susaMgati jaLavAya kharI? A praznanI dRSTie, bharata ane tenI pachInA kAvyazAstrIonAM vargIkaraNonA yojelA saMbaMdhanI cakAsaNI thavI joIe; je UMDo abhyAsa mAgI le tevuM che. ahIM ApaNe saheja UDatI najare bharata ane pAchaLathI thayelA sAhityadarpaNakAra vizvanAthanI vyAkhyAvaDe tapAsI jovA prayatna karIe, je vyAkhyAothI AgaLa ApaNe paricita thayelAM chIe. bharatanA kathana mujaba je nAyikAno priya pravAse che te kAraNe te kezasaMrakAra vinAnI che; to sAhityadarpaNakAranA kathana mujaba, tethI karIne te 'manobhavaduHkhAtA' che, eTale ke kAmArta che. sAhityadarpaNakAre priya 'ne badale ' pati ' zabda mUkyo che te lakSamAM rAkhavA jevo che. A banne vyAkhyAno ekasAthe vicAra karIe to pravAsI patinI virahiNI, 'saMtApavyAkulA ' hoI vikalAMgaveze che ema kahI zakAya. ahIM nAyikAnA virahaduHkhanuM nimittakAraNa dezAntara gayelo nAyaka eTale ke teno potAno pati che, koI anya puruSa nathI, kAraNa vizvanAthanI vyAkhyAmAM nizcitapaNe ' pati ' zabda che. mAno ke teno pati pravAse che ane te parakIyA ne sAmAnyA paNa che. to UlaTAnuM tevIte mATe, dezAntarita patinuM--te ethI karIne potAno mArga mokaLo~anukULa--thayAnuM sukha hoya ke duHkha ? A eka sAdI samajamAMthI nIpajato prazna che. , eka bIjo muddo : bharate Apela ' proSitabhartRkA ' evA pAribhASika nAmalakSaNa mujaba, te pravAse gayelA nAyakanI eTale ke patinI--bharyAMnI vivAhitA patnI-nAyikA che. proSitapatikA evo zabda paNa pracalita che. temAMnA A ' bhatR ' ane khAsa karIne ' pati ', e paryAyo zuM vivAhita dazAnA sAMketika zabdo nathI? che. AgaLa jaNAvI gayA te mujaba nAyikAbhedanuM e AkhuM ce vargIkaraNa nAyakane avalaMkhIne udbhavatI nAyikAnA ratibhAvanI avasthA parathI yojAyuM che. ane e dRSTie paNa te, nAyakanI virahiNI, nAyikArUpe ja hoya; sAthe sAthe, te anya svarUpe eTale ke sAmAnyA ke parakIyA-svarUpe prema hoya ? paNa mAno ke ekavAra ApaNe vAstavika jagatamAM tema bane che mATe koIka proSitabhartRkAne parakIyA ke sAmAnyA lekhavAmAM bAdha na joIe. to, te lakSamAM laI ne nAyikAlakSaNa ane nAyikA vizenAM vargIkaraNonuM paraspara-saMkalana (co-ordination) thavuM joIe. paNa ahIM vyavahArano prazna prastuta nathI--eTalA mATe ke vyavahArathI sAhitya ne zAstranuM svarUpa alaga prakAranuM che. kAraNa, vyavahArano anubhava ane sAhityano anubhava eka prakAranA nathI. ane zAstra sAhityane avalaMbane cAle che e dRSTie kalAkRtimAMthI nItarI AvatA mAnavajIvananA nirbheLa satyamAMthI AsvAdya evo je zuddha bhAva vyakta thAya che te jotAM, proSitabhartRkAnI svIkArya yojanAmAM e lokoe parakIyA-sAmAnyAno kaI rIte samAveza karyo haze, tenI tamAma kAvyazAstranA graMthamAMthI tulanAtmaka abhyAsa vaDe tapAsa karavA jevI A bAbata jaNAya che. kAraNa, je nAyikA nirbheLapaNe proSitabhartRkAnuM bhAvadAnta che te ekIsAthe anya--tethI viparIta~cokaThAmAM kema besI zake? kAraNa, kAvyano bhAva---are ! bhAvasaMgharSa ke bhAvazakhalatA paNu, zuddha prakAranAM hovAM joIe. te kavinA ke " samAjanA koI paNa vyAvahArika prayojanathI abAdhita hoI...zuddha svarUpa "--nAM hoya to ja te avizrvakarapaNe AsvAdya banI zake. kAvyanI tevAM zuddha bhAvasatyo nIpajAvavAnI guMjAyeA che tethI ja temAMthI tarkasaMgata kAvyazAstra udbhavI zakyuM che. eTale, vyavahAramAM che mATe karIne proSitabhartRkAne parakIyA vagere tarIke svIkArIe to uparyukta muzkelI UbhI thAya. to pachI zAstramAM tene Avazyaka evA alaga alaga viSayanA pADelAM nizcita AkAravALAM vargIkaraNanI cokasAI rahe nahi. evA bheLaseLiyA vargIkaraNane tenA khyAlane rUDha karavAmAM bhalIvAra hoI zake nahi. pachI te tarkasaMgata-zAstrIya vargIkaraNa rahI zake nahi.

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284: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI vaLI, mAno ke vAstavika paristhitine anulakSIne proSitabhartakA mATe parakIyA vagere avasthAnI zakyatA svIkArI laIe to tevI nAyikAno pratibhAva zRMgAranA eTale ke rasanA saMbaMdhano nahi, paNa rasAbhAsanI koTino lekhavo joIe. kAraNa, ApaNuM kAvyAcAryoe keTalAMka anucita ratibhAvanAM nirUpaNane rasaniSiddha lekhyAM che ane tene rasAbhAsanI koTinAM gaNavelAM che. tenuM ya kAraNa che; ApaNI saMskRtithI mudrAMkita ApaNI rasarucie nItithI vibhakta evI kalAyojanA ke vargIkaraNa svIkAryo nathI. mAnavasamAjamAM manuSyanI naitika dRSTino eka cheDo sarvajanakalyANanA pradeza sAthe saMbaMdhita che; to bIje cheDo nIti sAthe saMbaMdhita hovAne kAraNe ja, te manuSyacetanAnI atyaMta sUkSma ne nAjuka surucinA pradeza joDe saMkaLAyelo che. ApaNA kAvyazA AvI sUkSma kalAruci ane jIvana vizenI pavitranI buddhithI prerAIne deva, guru, mAtApitA, pazu vagerenA eka ke bIje kAraNe anucita zaMgAranirUpaNane tema ja bahunAyakaviSayaka ratino abhilASa sevanArI strIne paNa, zRMgArarasa nahi paNa tenA rasAbhAsanA vibhAva tarIke TharAvela che. Ama ApaNe uparyukta koIpaNa prakAranA anucita ratibhAvane sUjhapUrvaka kutsita lekhI tene alaga tAravI, rasAbhAsa tarIke alAyaduM sthAna ApyuM che. to pachI, e dRSTie parakIyA ke sAmAnya proSitabhartRkA zRMgArarasano AlaMbanavibhAva zI rIte hoI zake ? to bIjI bAju evI sUkSma rUci dharAvanAra ApaNI saMskRtie cheka aMgrejonA Agamana sudhI, bahunAyikAviSayaka ratiabhilASa sevanAra evA koI nAyakanA nirUpaNane kyAMya niSiddha lekhyuM nathI ! saMskRta sAhityanAM nATakomAM keTalAMya rAjAnAM tevAM pAtro che tene paNa ApaNI saMskRtinI eka tAsIra ja samajavI joIe ne ? A uparAMta zAstra paNa kAvyanI jema kAvyano artha ghaTAvavA mATe potAnI preraNA tema ja sAmagrI, mahadaMze bhale kAvyamAMthI paNa amuka aMze jIvanamAMthI-jIvananA nirIkSaNamAMthI-vAstavika paristhitimAMthI upaDe che ane te parathI namUnAdAkhala koI Adarza rajU kare che. eTale ke e Adarza ghaDavAmAM zAstrane kAvya uparAMta vAstavika jagatanI madada levI paDe che. kAvya uparAMta vyavahAra jagatamAM najare paDatI aneka proSitabhartukAomAMthI koIke koIke tevI strI athavA tenuM koIka koIka lakSaNa, Adarza proSitabhartakAnA baranAM hoI zake. kavicitta potAnI bhAvajarUrata mujaba te badhAM daSTAMtonA samuccayarUpa eka AdarzabhUta namUno upasAve che. zAstra paNa sAhitya ane jIvanano Azraya laI vargIkaraNa athavA vyAkhyA taiyAra kare che. tevI chUTakaTaka nAyikAonAM dainaMdina jIvana parathI ane sAhityamAM thatA tenA rasadAyI samarthana parathI jema kAvyazAstra tema smRti ane dharmazAstro paNa jIvanAcAra ghaDe che. te mujaba, proSitabhartRkA nArI mATe keTalAka Adarza AcAranAM sUcano nIcenA pracalita zlokamAM karelAM che : krIDAM zarIrasaMskAraM samAjotsavadarzanam / hAsyaM paragRhe yAnaM tyajetproSitabhartRkA / / yAjJavakya samRti, 1, zloka 84. eTale ke -"proSitabhartRkAe krIDA, zarIrasaMskAra-prasAdhana, samAja tathA utsava, hAsyadarzana, paragRhagamana--te tyajavuM." A sUcana pAchaLa vAstavika jIvananuM tathya kaMIka aMze raheluM nathI jaNAtuM? je nAyikA patine kAraNe virahasatapta nArI hoya to svAbhAvikapaNe "kSADharAntA'--kezasaMskAra vagere vinAnI hoya. mAnavasvabhAvano ApaNe anubhava sAkha pUre che ke je koI virahI che teno jIvanarasa keTalo zoSAI jAya che! ane A prakAranuM varNana jANe bhASyarUpe sAhityadarpaNakAranI proSitabhartukAne-evI koI

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virahiNano eka anubhAvavizeSa : 285 aMtaHpuravAsinI patinichA kulavadhUne nathI nirdezakuM? tevI virahiNane pachI pAchaLathI parakIyAsAmAnyA tarIke kevI rIte yojI haze? eka bAbata umeravI joIe : bharatanI vyAkhyAmAM nAyaka mATe "priya" zabda che. paNa sAhityadarpaNakAranI vyAkhyA spaSTapaNe nAyakanA patisvarUpano bodha kare che, je ApaNe AgaLa joyela che. paNa bharatanA vargIkaraNane A parakIyAvALuM vargIkaraNa pAchaLathI lAgu pADavAmAM AvyuM che te ApaNane sAhityadarpakAranA nirUpaNa parathI jovA maLe che. tethI jIvanamAM ne sAhityamAM vyakta thatI vAstavika paristhitinI bhAgane anulakSIne eTalI vizeSa vIgata dhIredhIre pAchaLathI purAI mAlUma paDe che. to pachI tevI proSitabhartRkA jyAre parakIyA ke sAmAnyA hoya tyAre rasAbhAsano vibhAva bane ke zRMgArano? e prazna vicAravAno rahe. Ama "pati" zabdane kAraNe sAhityadarpaNamAM vyAkhyAbaddha thayelI virahassAna proSitabhartRkA, pati vinA sijhAtI svakIyA hovAno khyAla utpanna kare che. tene pachI parakIyA IDa hovAne kaDhaMgo saMbhava Ubho thavAnuM kAraNa chUTe chUTe hAthe ane samaye thayelAM judAM judAM vargIkaraNone eka samagra yojanAmAM tANItUsIne kRtrimapaNe DhALavA-sAMkaLavA ne ema karIne subaddha karavA jatAM AvI asaMgati UbhI thaI haze, ema mAnavuM? paNa te siddha karatAM pahelAM ApaNuM prAcIna kAvyazAstranA tamAma graMthono samayAnukrama mujaba ane samAjazAstrIya daSTie vistRta tema ja UMDo abhyAsa thavo joIe. A maryAdita nirUpaNavALA lakhANamAM tevI savIgata tapAsa ane te parathI thanAra nirNaya zakya nathI. tethI mAtra saMzayapraznarUpe ahIM teno nirdeza karyo che. chatAM A vargIkaraNa saMbaMdhamAM ATaluM sUcana karI zakAya temane susaMgata rahI zake te mujaba tamAmane sAMkaLavA jatAM asaMgati UbhI thavAno bhaya rahelo che. kAraNa, mAnavaprakRtinI niravadhi--pArAvAra, harakSaNe parivarta pAmatI zakyatAo che. tene jhIlanAra sAhityane, tethI sarvAgINapaNe ane sarva kAla mATe koIpaNuM vargIkaraNanA jaDa cokaThAmAM badhI bAju baMdhabesatuM Ave te rIte niyaMtrita karI zakAya nahi. kAraNa, kAvya bhale tIvratAthI, ane tenI sAthe zAstra potAnI rItie mAnavajIvanano je tAga levAno prayatna kare che te aMzata: ja karI zake che. kaMIka AkAzane AcchAdavA bichAvelA kapaDAnI maryAdA jevo teno ghATa che. eka bAju DhAMkavA jatAM bIjI bAju khUTe ne ughADuM paDe ! paNa manuSya, samagra nahi chatAM potAnA mastaka uparanuM mayaoNdita AkAza jema DhAMkavAnI ceSTA karI zake che, tema kAvya ane zAstra jIvananuM maryAdita Akalana jarUra karI zake. samaye samaye temAM pheraphAro ke umerA thAya. kyAreka te nakAmA ya nIvaDe. te satyavedhI hoya eTale basa. paNa tethI nirapekSa, ApaNuM virahasAhityano ahIM rajU thayelo eka sukumArabhAva-kaho ke anubhAvaaMza, kAvyAnaMda ApI zake tevo abhyAsIne avazya jaNAze. ghaNI veLA kAvyanuM vivecanaguNadarzana e ratnamaMjUSA che te A arthamAM ke, vivecananimitte tene anuSaMge suMdara avataraNone eka sthAne mUkI tenI jhaLAMhaLAM kAvyakAMti manabhara mANI zakAya. * * prastuta lakhANa mATe jarUrI avataraNo, tenAM saMdarbhasthAna ne graMtho vagerene mamatAthI ne cIvaTAIthI sukara karI ApanAra nIcenA sajajanabaMdhuono saRNa ullekha karavo dhaTe : 1 prAkRta tathA apabhraMza vagere mATe zrI ha0 yu. bhAyANa. 2 saMskRta mATe pro. gaurIzaMkara jhAlA tathA bhAratIya vidyAbhavananA saMzodhanavibhAganA saMskRtanA adhyApaka sureza upAdhyAya, tathA tyAMnI saMskRta pAThazALAnA zrI purohita. 3 bhAratIya vidyAbhavana pustakAlayanA graMthapAla zrI nayana paMDathA.

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jaina kavi zrI hemaratnaviracita vIragAthA : gorA-khAdala-padamanI-kathA-caupaI [saMkSipta paricaya] muni zrI jinavijayajI, purAtattvAcArya jaina saMpradAyano tyAgIvarga prAcIna samayamAM mukhyatve 'ti'nA nAmathI prasiddha hato. enuM khIjuM nAma 'muni' paNa hatuM; paraMtu jainetara varga moTe bhAge jaina tyAgIvargane 'pati' nAmathI oLakhato hato. jaina yutivargano sAhityika ane sAMskRtika phALo paMjAba, dillI pradeza, mAravADa-mevADa vagere AkhuM rAjasthAna, mAlavA, madhya pradeza, gujarAta, saurASTra ane kaccha uparAMta have pAkistAnamAM gayelA haidarAbAda sAthenA siMdha pradeza sahita bhAratanA samasta pazcima bhAganA madhyakAlIna itihAsanuM avalokana karatAM mAlUma paDe che ke e yugamAM jaina yativarge dezanA sAhityika ane sAMskRtika vikAsamAM ghaNo moTo phALo Apyo che. jaina dharme udbodhela jIvana-Adarza pramANe A yatio, icchA ane samajaNapUrvaka, sAMsArika jIvanano tyAga karIne virakta jIvananuM anusaraNa karatA hatA. ane ahiMsAsAdhaka tapa, saMyama, brahmacarya ane aparigraha vratanuM pAlana karavuM e emanA jIvananuM mukhya lakSya hatuM. A lakSya anusAra teo potAnA jIvanane eka sAdhakanA rUpamAM pheravavA mATe haMmezAM yathAzakti prayatnazIla rahetA hatA, ane potAnA jJAna ane upadeza dvArA, emanA saMparkamAM AvatA janasamUhane Adarzamaya susaMskArI jIvana jIvavAnI preraNA ApatA rahetA hatA. A yatijano koI paNa sthAne sthiravAsa karavAne badale judA judA pradezomAM niraMtara paribhramaNa karatA rahetA hatA, ane kevaLa sAmAnya bhikSA dvArA potAnI kAyAne TakAvI rAkhatA hatA. teo na koInI pAse dhana-dhAnyanI yAcanA karatA ke na koInI pAsethI bheTa-sogAta-pUjAne icchatA ke svIkAratA.

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jaina kavi zrI hemaraviracita vIragAthA gorA-bAdala-padamanI kathA-caupAI: 207 jena yationuM AvuM nispRha chavana janasamUhanA aMtaramAM emanA pratye Adara ane bahumAnanI lAgaNI utpanna kare che. teo eka uttama sAdhaka tarIke potAnI AtmasAdhanA karatA rahe che; ane sAthosAtha potAnA saMparkamAM AvatAM nara-nArIone, emanI yogyatA anusAra, ahiMsA, satya, asteya, vyA, dAna, paropakAra, sevA-suzruSA, dIna-du:khI jano pratye sahAnubhUti, emanI sahAyatA tema ja rASTra tathA svadharmanI rakSA vagere sadAcAra poSaka sadguNonA saMskArono vikAsa karavAnI dRSTie sadupadeza ApatA rahe che. jena tijanonA AvA sadAcAra-poSaka upadezane jhIlIne hajAro mANaso emanA zraddhALa anuyAyI banI jatA hatA, ane emaNe batAvelA dharmamArganuM anusaraNa karatA rahetA hatA. pazcima bhAratamAM atyAre jeTalI jaina vaNika jJAtio ke jeTalA samAje hayAta che te badhAMya A jaina yationA sadupadezone lIdhe saMskArasaMpanna banI zakyAM che. A jaina samUhoe pazcima bhAratanA samagra lokajIvananA ghaDatara ane vikAsamAM ghaNuM mahattvano phALo Apyo che. A jaina samUho dezanI rAjakIya, Arthika, sAmAjika ane sAMskArika pravRttiomAM haMmezAM potAno phALo ApatA rahevAnI viziSTa pharaja bajAvatA rahyA che. eno ItihAsa ghaNuM vizALa tema ja pramANabhUta che. paNa hajI sudhI enA upara joI e teTalo prakAza pADavAno yogya prayatna nathI thayo. A jena tio janasamUhane saMskArasaMpanna karavA mATe jema hamezAM upadeza ApatA rahetA e ja rIte teo jAte judA judA viSayonuM viziSTa jJAna meLavatA rahetA ane potAthI bhinna dezakALamAM rahenAra ke thanAra jijJAsuone potAnI jJAnopAsanAno lAbha maLato rahe eTalA mATe navA navA graMthonI racanA karIne dezanI sAhityika samRddhimAM paNa vadhAro karatA rahetA. jena tioe racela sAhitya ghaNuM vipula che. chellAM eka hajAra varSanA bhAratIya sAhityano vistRta itihAsa lakhavAmAM Ave to saMkhyAbaMdha jena yatione emAM ghaNuM viziSTa sthAna prApta thaI zake evI emanI sevAo che. A jaina yatio ke munio potAnA dharma ane saMpradAyanA marmajJa vidvAna to thatA ja hatA, paraMtu emanA jJAnArjana ane jJAnadAnanuM kSetra sarvavyApaka ane sarvAnubhavavALuM rahetuM hatuM. te te samayamAM jJAta ane pravartatI vidyAonI badhI zAkhA-prazAkhAonuM A vidvAno yatheSTa Akalana, adhyayana, ciMtana-manana, Alocana ane sarjana karatA rahetA hatA. jema emanI jJAnapipAsA aparimita hatI, ma emanI jJAnopAsanA paNa evI ja utkaTa ane asAdhAraNa hatI. teo vyAkaraNa, kAvya, koSa, chaMda, alaMkAra, nyAya, pramANuzAstra vagere zabdazAstra ke taravavivecanane lagatAM zAstronuM adhyayana karavA uparAMta jyotiSa, vaidyaka, zilpa, zakuna, varSAvijJAna, praznaparijJAna, ramala vagere badhI jAtanAM zAstronuM paNa evuM ja adhyayana, avalokana ane sarjana karatA rahetA. keTalAya jaina AcAryo ane yatinAyako maMtravidyA ane taMtravidyAmAM nipuNa hatA. jaina itihAsanA aMgabhUta prAcIna pramANe ane ullekho mujaba evA aneka moTA jena AcAryonuM varNana maLI Ave che ke jeo moTA mAMtrika ane tAMtrika hatA. potAnI A vidyAne baLe emaNe e vakhatanA janasamUho upara moTo upakAra karyo hato; potAnA dezavAsIonAM AMtara-bAhya kaSTo dUra karavAmAM ghaNI madada karI hatI. teo sadAcAranuM AcaraNa karavAnI preraNA to ApatA ja rahetA hatA; paNa avasara joIne lokone nItimArganuM anusaraNa karavAnI preraNA ApIne rAjA ane prajAnI pharajenuM ane AdaravA yogya vyavahAronuM paNa mArgadarzana karAvatA rahetA hatA. emanA jJAna ane cAritrabaLane lIdhe emanA pratye zraddhA dharAvatA anuyAyIo to emanA sadupadezane mAthe caDAvavAne mATe hamezAM tatpara rahetA ja hatA; paraMtu jeo emanA anuyAyI na hatA

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288 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha evA ajaino paNa emano zraddhA ane bhaktipUrvaka hamezAM Adara karatA rahetA hatA. nagara ane deza upara zAsana calAvatA rAjAo vagere paNa emanAM upadeza ane salAha-sUcanano lAbha letA rahetA hatA. upara sUcavavAmAM AvyuM che te pramANe janasamUhanI sAMskArika tema ja sAmAjika unnatimAM A vidvAnoe jevo phALo Apyo che, evo ja phALo emaNe dezanI sAhityika samRddhine vadhAravAmAM Apyo che. A vidvAnoe, upara sUcavyA tevA, judA judA viSayane lagatA hajAro graMtho prAkRta ane saMskRta bhASAmAM lakhyA che, je krame krame prasiddha thatA jAya che. saMskRta, prAkRta, apabhraMza bhASA uparAMta prAcIna rAjasthAnI, gujarAtI vagere jevI dezya bhASAonI samRddhine vadhAravA mATe A vidvAnoe A dezya bhASAomAM asaMkhya graMthonI racanA karI che. dezya bhASAonI A racanAomAM, mukhyatve, sAmAnya janasamUhane saMbhaLAvavAnI dRSTie kathA-vArtA jevA lokapriya ane lokabhogya sAhityanuM vividharUpe emaNe sarjana karyuM che. bhASAvikAsa ane vicAraprakAzanI daSTie, jaina yatioe sarjeluM A dezyabhASA-sAhitya paNa khUba mahattvanuM sthAna dharAve che. A yatioe dezya bhASAmAM kevaLa potAnA saMpradAyane lagatI prAcIna kathA-vArtAone ja utArI che evuM nathI; emaNe to dezanA samagra janasamUhamAM pracalita lokakathAo tathA aitihAsika prabaMdhonuM paNa dezya bhASAmAM evuM ja viziSTa avataraNa, bhASAMtara ke Alekhana karIne potAnI kavitvazaktinAM khIlelAM puSpothI mAtRbhASAsvarUpa sarasvatImAtAnI caraNapUjA karI che. hemaratnakRta copaI ahIMyAM AvA ja eka yatijI dvArA prAcIna rAjasthAnI bhASAmAM, athavA jene amArA keTalAka vidvAna mitro mAru-gUrjara tarIke oLakhAvavAnuM pasaMda kare che te bhASAmAM, racavAmAM AvelI bhAratanA itihAsanI khUba karuNa chatAM atyaMta gauravazALI kathArUpa vIragAthAno kaMIka paricaya ApavAmAM Ave che. A kathAkAvyanuM nAma " gorA-khAdala-padamanI-kathA-copaI "--aparanAma " gorA-khAdala-caritra" che. enA karyAM yati hemaratna nAme kavi che. A kAvyamAM cittoDanI jagaprasiddha padminInI AkhI kathA varNavavAmAM AvI che. padminInI kathAnI lokapriyatAnAM kAraNa cittoDanI rANI padminI ke padmAvatI bhAratIya lokamAnasamAM eka viziSTa vIrAMganA ke satI nArI rUpe sanAtana sthAna pAmI cUkI che. e rAmAyaNanI satI sItA ane mahAbhAratanI draupadInA saMyukta avatArarUpa AryanArInA adbhuta pratIka samAna hatI. tethI bhAratanI judI judI loka-bhASAomAM A viSayane lagatuM vipula sAhitya racAyuM che. kathA, vArtA, nATaka, navalakathA tema ja kavitArUpe enI hRdayaMgama kathA bhAratanA khUNe khUNe pahoMcI gaI che. padminInI kathA khUba lokapriya thaI tenAM kAraNo aneka che : eka to e khUba rUpavatI ane guNavatI zreSTha nArI hatI. bhAratamAM prAcIna samayathI jenuM viziSTa aitihAsika ane bhaugolika mahattva lekhAtuM AvyuM che te vikhyAta tema ja samRddhi ane saMskRtithI paripUrNa evo cittodurga enI rAjadhAnI hato. bhAratanA prAcInamAM prAcIna rAjavaMzomAMnA eka khUba gauravazALI guhilota rAjavaMzanI e rAjarANI hatI. bhAratanA itihAsamAM pralayakALa samA dillInA duSTa mleccha musalamAna sulatAna alAuddInanI krUra kudRSTi enA upara paDI hatI. e viSayalolupa, madAMdha, dharma-dhvaMsaka, khUnI, turka musalamAna bhAratanI hiMdu jAtinI e sarvazreSTha nArInuM satItva naSTa karIne ene potAnI gulAma-mAMdI

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jaina kavi zrI hemaraviracita vIragAthA : gorA-khAdala-padmamanIkathA-caupaI : 289 banAvavA cAhato hato; ane ema karIne e hiMdu jAtinA dhArmika ane sAMskRtika hRdayanuM khUna karIne ene potAnA kabrastAnamAM daphanAvavA cAhato hato. alAuddIne mAnyuM haze ke cittoDa e to nAnuMsarakhuM rAjya che; enI lazkarI tAkAta kaMI moTI nathI; e killA upara capaTI vagADatAM kabajo thaI jaze, ane bhAratanI e zreSTha nArIne sahelAIthI mArA aMtaHpuramAM huM dAkhala karI zakIza. paNa cittoDanA muThThIbhara vIroe enA AkramaNano dRDhatApUrvaka sAmano karyo. ene mahinAo sudhI tyAM paDAva nAkhIne paDayA rahevuM paDayuM, ane potAnA seMkaDo cunaMdA sainikonAM mAthAM kapAvA devAM paDyAM. laDatAM laDatAM jyAre cittoDanA badhA vIro khapI javA AvyA tyAre padminIe potAnA vIrone kesariyAM karavAnuM kahIne, emanA kapALamAM akSata-caMdananAM tilaka karIne, emane vidAya karyA; ane pote, potAnA samasta nArIsamudAyanI sAthe, padminI sarovaramAM snAna karIne ane bhagavAna zaMkaranI bhaktipUrvaka pUjA-prArthanA karIne, maMgaLa gIta gAtI gAtI citA upara besI gaI ! jotajotAmAM enI ane enI sAthenI badhI satI nArIonI sonalavarNI kAyA, citAnI sonalavarNI javALAomAM bhaLI jaIne, rAkhano puMja banI gaI ! jema killAmAM bhaDabhaDatI citAnI javALAo zAMta thaI gaI ema killAnI nIcenI raNabhUmimAM raNavIronI raktadhArA paNa vahetI baMdha thaI gaI ! killAnA daravAjA udhADA paDyA hatA ane rAjamahelo sUnA thaI gayA hatA ! jyAre alAuddIna killA upara pahoMcyo tyAre e potAnA rAjakavi amIra khusaru sAme joI ne koIka huda huda 'ne mATe bUmo pADI rahyo hato; paNa tyAM 'hudahuda' kyAM hatI? phakata rAkhanA puMjamAMthI rAkhanI jhINI raja UDIUDIne enI gojhArI AkhomAM paDI rahI hatI; jethI e, potAnuM kALuM moM chupAvato chupAvato ane potAnI ghRNAspada AMkhone coLato coLato, hatAza thaIne khAlI hAthe dillI pAcho pharI gayo ! 6 padminInI jIvanakathAnuM ATaluM ja sArabhUta nRttAMta che; paNa e eTaluM to udAtta ane bhAvottejaka che ke pratyeka hiMdu saMtAna ene sAMbhaLIne romAMcita thaI jAya che. AbAlavRddha badhAM strI-puruSo A kathAnuM zravaNa karIne lAgaNIbhInAM banI jAya che. hiMdu jAtinI hastine ja khatama karI nAkhe evA pralayakALa samA e yugamAM eka Adarza sannArI evI thaI, jeNe potAnA satItva ane jAtIya gauravanI rakSA mATe potAnA prANanuM evI rIte balidAna ApI dIdhuM ke jene lIdhe hiMdu jAtinA gauravanI divya jyoti Aja sudhI prakAzamAna rahI che. Ane lIdhe padminInI kathA, e mULa ghaTanA banI tyArathI ja, mALavA, gujarAta vagere pradezonI janatAmAM khUba lokapriya thaI gaI hatI; ane AbAlavRd janasamUhamAM khUba bhakti, ullAsa ane gauravapUrvaka kahevA-sAMbhaLavAmAM AvatI hatI---rAjasthAnathI dUra cheka pUrva bhAratamAM paNu. padminInI kathAnI AvI hRdayasparzitA, viziSTatA ane lokapriyatAthI prabhAvita thaIne ja jAyasI jevA musalamAna kavi paNa avadhI bhASAmAM A kathAne ' padamAvata' nAmathI kavitAadda karavA prerAyA hatA. jAyasInI A kavitA paNu, kathAnI mukhya nAyikA padminInI jema, sArA pramANamAM lokapriya banI che. A kRtinI racanA prAcIna hindInI avadhI bolImAM thayela hovAthI uttara bhAratamAM eno pracAra vizeSa thayo che. aitihAsika sAmagrIno abhAva; sAhityika sAmagrInI prApti kALanA prabhAve jyAre moTA-moTA samrATonAM jIvana saMbaMdhI paNa ApaNane thoDIka paNa aitihAsika sAmagrI maLI zakatI nathI, tyAre padminI jevI eka nAnA sarakhA rAjyanA zaktihIna rAjAnI rANI su2019

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ra90: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthe saMbaMdhI aitihAsika sAmagrI prApta thavAnI AzA rAkhavI vyartha che. Ama chatAM patinI eka moTI bhAgyazALI rANI che ke jenA saMbaMdhI tathyAtadhyamizrita, ItihAsano AbhAsa karAvatI keTalIka sAhityika racanAo maLI Ave che. kavi hemaratnaviracita "gorA-badala padamanI-kathA-caupAI' AvI racanAomAMnI eka rAjasthAnI bhASAnI viziSTa kRti che. kavi jAyasIkRta 'padamAvata' Ama to, AgaLa sUcavyuM tema, musalamAna sUphI kavi jAyasIe avadhI bhASAmAM rANI padminInI jIvanakathA saMbhaLAvatuM 'padamAvata' nAme suMdara, prauDha kAvya racyuM che. e kAvya hemaratnakRta "caupadha" karatAM Azare aradhI sadI pahelAM racAyuM che. jAyasInI A kRti hiMdI bhASA-sAhityamAM eka khUba mahatvanI ane utkRSTa koTinI racanA manAya che; ane enA upara aneka vidvAnoe vyAkhyA, vivecana ke samAlocanArUpe graMtha, nibaMdha ke prabaMdha lakhyA che. A kRtimAM jAyasIe padminInA jIvananuM varNana vizuddha kathArUpe nahi paNa AlaMkArika bhASAmAM mahAkAvyanI Dhabe karyuM che. kavi jAyasI sUphI vicArasaraNIne anuyAyI hato. enuM dhyeya hiMdu janatAmAM khUba lokapriya ane zraddhAspada banelI satI padminInI AbAlagopAlaprasiddha lokakathAne sUphI vicArasaraNa ane kalpanAnA raMge raMjita karIne e kathAne vAMcavA-sAMbhaLavAvALAone potAnA saMpradAyanI vicArasaraNI tarapha AkarSita karavAnuM hatuM. jAyasInA saMskAra ane bhAva islAmI saMskRtithI raMgAyelA hatA, ane eno uchera phArasI-arabI bhASAnA sAhityanI paraMparAmAM thayo hato, tethI enI kRtimAM ene anurUpa bhAvAbhivyakti thavA pAmI che. Ama chatAM e kavi hiMdu vicArasaraNI, bhAvAbhivyakti ane sAhityazailIthI suparicita hato, tethI enI racanAmAM vizeSa bhedabhAva najare nathI paDato; ane tethI enI racanA hiMduone mATe paNa eTalI ja svIkArya ane AdarapAtra banI zakI che. prastuta kRtinuM aitihAsika mahatva jAyasIkRta 'padamAvata' jema uttara bhAratamAM vizeSa pracalita banyuM tema rAjasthAna, gujarAta, mALavA jevA pazcima bhAratanA pradezomAM kavi hemaratnanI prastuta racanA vizeSa prasiddha hatI. A kavi vidvAna jena yati hatA. emanI bhASA supariSkRta rAjasthAnI che; paNa enI racanA mAravADa, mevADa, mALavA ane gujarAtanA pradezomAM samAnarUpe upayogamAM levAtI zailImAM thayelI che. aitihAsika daSTie A kRti vizeSa mahatva dharAve che. kavie pote ja A kRtinI prazastimAM (A pratinI prazastinI 4thI 7mI kaDIomAM) jaNAvyuM che te pramANe A cIpaInI racanA udayapura rAye ane enA rAjavaMza sAthe vizeSa saMbaMdha dharAvatA, osavAla jAtinA, kAvaDiyA gotranA tArAcaMdanI mAgaNIthI karavAmAM AvI hatI. A tArAcaMda itihAsaprasiddha dezabhakta vIra bhAmAzAhano nAno bhAI thato hato; ane mahArANA pratApano vizvAsu rAjyAdhikArI hato. suprasiddha haldIghATanA yuddhamAM bhAmAzAhanI sAthe tArAcaMda paNa eka agraNe yoddho ane sainyanA saMcAlaka hato. eNe cittoDanA rAjavaMzanI rakSAne mATe aneka prakAre sevAo ApI hatI; tethI enA aMtaramAM cittoDanI gauravagAthAnuM gAna karAvavAno ullAsa hoya e svAbhAvika che. jyAre kavi hemaratna vi. saM. 1645nuM comAsu sAdaDI nagaramAM rahyA te vakhate tArAcaMda tyAM moTA rAjyAdhikArIne pade hatA. jaina samAjanI paraMparA pramANe tArAcaMda dharmaguruone vaMdana karavA tema ja emano upadeza sAMbhaLavA, yathAsamaya, jaina upAzrayamAM jatA rahetA hatA. yati hemaratna sArA kavi hatA ane dharmopadezamAM teo potAnI racanAone AdhAre

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jaina kavi zrI hemaraviracita vIragAthA gorAbAdala5damanakathA-cAI: ra91 pravacana karatA hatA. tArAcaMda emanI AvI kRtione sAMbhaLIne khUba prasanna thato. ekavAra avasara joIne eNe kavi hemaranane vinati karI ke teo cittoDanA itihAsanI pavinInI gauravabharI kIrtikathAnuM potAnI hRdayasparzI kAvyamaya vANImAM gAna kare. tArAcaMdanI A prArthanA uparathI hemarane A kAvyakRti racavAnI zarUAta karI, ane vi. saM. 1645nA zrAvaNa suda pAMcamanA divase e pUrI karI. kavinA kahevA mujaba AnI racanA vakhate mahArANA pratApa hayAta hatA. * A cAInA racanAkAlathI Azare 20-21 varSa pahelAM akabare cittoDano sarvanAza karyo hato; ane e duHkhada ghaTanAnI bahu gherI asara mevADanI janatAnA citta upara thaI hatI. cittoDanA patanathI 11 varSa pachI thayela hadIdhATanA yuddhamAM tArAcaMda paNa eka zUravIra yoddhA tarIke hAjara hato. mahArANuM pratApanA e surakSita pahADI pradezanA mAravADa ane gujarAtanA dhorI mArga upara AveluM e sAdaDI nagara eka mahattvanuM nAkuM hatuM. aravalInAM durgama sthAno ane mArgonuM e pravezadvAra hatuM. tethI enA rakSaNane bhAra mahArANA pratApe tArAcaMdane soMpyo hato. e tArAcaMdanA ja AgrahathI, e sAdaDI nagaramAM A caupaInI racanA thaI hatI, tethI A racanAnuM A aitihAsika mahatva paNa che. kavi hemarananI A caupAI khUba lokapriya thaI hatI. cittoDanI pavinInI kathAmAM gorA ane bAdalanI svAmibhaktinuM anupama udAharaNa Ave che; emaNe abhuta rIte cittoDanA gauravanuM rakSaNa karyuM enuM varNana AmAM che. A kAvyanI racanA thaI te vakhate ja AnI aneka nakalo thaI hatI, ane mAravADa, mevADa, mALavA, gujarAta vagere pradezomAM eno khUba pracAra thayo hato. labdhodayakRta "pavinI-caritra-caupaI A cAInA anukaraNa rUpe, pachIthI, bIjA kavioe paNa A kathAne potAnI kavitA-vANumAM gUMthI che. emAM labdhodaya kavie racelI AvI ja eka "pavinI-caritra-caupaI' nAme racanA che, je hemaratnanI racanA bAda Azare 60-62 varSa pachI (vi. saM. 1706-7mAM) racAI che. labdhodaya paNa, kavi hemaratnanI jema, vidvAna jena yati hatA. teo paNa lokapriya dharmakathAone potAnI kavitAmAM gUMthIne dharmopadeza vakhate enA upara pravacana karatA rahetA hatA. teo kharataragacchanI paraMparAnA yati hatA. saMvata 1706-7mAM teo udayapuramAM comAsu rahyA hatA. e vakhate emanA gacchanA AgevAna, osavAla jAtinA, kaTAriyA gotranA bhAgacaMde emane padminInI kathAne caupaImAM utAravAno anurodha karyo. bhAgacaMdano moTo bhAI haMsarAja udayapuranA mahArANA jagatasiMhanI mAtA jaMbuvatIno kArabhArI hato. bhAgacaMdano eka moTo bhAI DuMgarasI nAme hato; ene dharmakaraNImAM khUba AsthA hatI. emanI preraNAthI * saMvata solAI sai paNuyAla, zrAvaNa suda paMcamI suvisAla | purI pIThI ghaNuM parabaDI, sabalapura sohaI sAdaDI || 4 | pathavI 5ragaTa rANu pratA5, prata5i dina dina adhika pratApa tasa maMtrIsara buddhinadhAna, kAyA kulatilaka nidhana ||5| sAmi dharama dhura bhAmuM sAha, vayarI vaMsa vichuMsaNa rAha ! tasu laghu bhAI tArAcaMda, avani jANi avatarika iMdra III dhUya jima avicala palai dharA, zagu sahu kIdhA pAdharA, tasu Adeza sahI subha bhAI, sabhA sahita pAMmI suparasAI / 7 | -A pratanI prazasti

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292 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha lakhyodaye ' padminI-caritra-caupaI ' nAme kAvyanI racanA karI. hemaratnanI racanA mukhyatve dohA ane caupaI chaMdamAM thayelI che, tyAre lakhyodaye potAnI racanA judA judA dezI rAgonI gItabaddha zailImAM karI che; paNa enI kathAnuM mukhya varNana hemaratnanI kRtine AdhAre ja karavAmAM AvyuM che. A caupai khIkAneranA 'sAla rAjasthAnI risarca InsTiTayUTa ' taraphathI tAjetaramAM pragaTa thaI che. enI sAthe koi prAcIna kavi malye racela ' gorA-badala-kavitta ' tathA jamala nAhare racela ' padminI-caritra ' athavA gorA-badala-kathA ' nAmanI kRti paNa pragaTa karI devAmAM AvI che. < hemaratnanI racanAnA mULa muddA hemaratnanI cauparkanA mULa muddA A pramANe che : (1) citrakUTa nAme suprasiddha ane susamRddha durgano rAjA guhilota vaMzano ratanasena che. (2) enI paTarANI prabhAvatI nAme che, je rUpe-raMge raMbhA jevI ane zIlavatI satI nArI che. (3) e khUba patiparAyaNa ane hetALa che. (4) eka divasa rAjAe jamatAM jamatAM rANInI rasoInI AvaDatamAM kaMIka khAmI batAvI, to rANIe hasatAM hasatAM maheNuM mAryuM ke mArI rasoI tamane na gamatI hoya to padamaNIne paraNI lAvo ! (5) rAjA e maheNAne sAcuM karI batAvavA padamaNI nArInI zodhamAM nIkaLI paDyo. (6) pharatAM karatAM siMhala dezamAM padminI rAjakumArI hovAnuM enA jANavAmAM AvyuM. (7) e khUba jahemata uThAvIne siMhala dezamAM pahoMcyo ane potAnI hoMziyArIthI padminIne paraNI lAvyo. (8) rAdhavacetana nAme eka brAhmaNa rAjAnA darabAramAM hato; e potAnI vidyAthI rAjAne prasanna karato hato. (9) paNa, koIka anucita dhaTanAne lIdhe, rAjAne e brAhmaNanA cAritra upara saMdeha jAya che, ane tethI rAjA enuM apamAna karIne ene tyAMthI kADhI mUke che, (10) brAhmaNu gusse thaI ne rAjA upara dveSa dhAraNa karIne, vera levAnI buddhithI, dillInA bAdazAha alAuddInanA darabAramAM pahoMcI jAya che. (11) tyAM paNa e potAnI tAMtrika vidyAthI bAdazAhane khuza kare che, ane bAdazAhanI kAmavAsanA uttejita thAya e rIte cittoDanA rAjAnI rANI padminInA anupama sauMdaryanuM varNana kare che. (12) laMpaTa bAdazAha padminIne meLavavA mATe moTA lazkara sAthe cittoDa upara caDAI kare che. (13) ghaNA prayatna, saMgharSa ane khaLano upayoga karavA chatAM jyAre e cittoDano killo nathI jItI zakato tyAre e chaLa-kapaTa racIne, rAjAne bhramamAM nAkhIne, killo jovAne bahAne rAjAno mahemAna bane che. (14) rAjA eka kSatriyane chAje e rIte enuM Atithya kare che, paNa e vizvAsadhAtI sulatAna killAthI UtaratI vakhate rAjAne keda karIne potAnI chAvaNImAM laI jAya che. (15) bAdazAha rAjAne khUba du:kha Ape che; ane e oI-sAMbhaLIne badhA cittoDanivAsIo bhAre musIbatamAM, mUMjhavaNamAM paDI jAya che ane rAjAne kevI rIte choDAvI zakAya eno upAya vicAravA lAge che. (16) e vakhate alAuddIna potAnA dUtane killAmAM mokalIne kahevarAve che ke jo mane rANI padminIne soMpI devAmAM Avaze to huM rAjAne choDI mUkIza ane cittoDano ghero uThAvIne cAlato thaIza. (17) rAjAnI paTarANIno putra vIrabhANu, je potAnI oramAna mAtA padminI tarapha dveSabhAva dharAvato hato, e potAnA saradArone kahe che ke ' jo cittoDanI ane rAjAnI rakSA karavI hoya to padminIne sulatAnane soMpI dIdhA sivAya khIjo koI upAya nathI.' (18) padminIne kAne jyAre A vAta jAya che tyAre e bahu khinna thAya che. eka bAju cittoDanI ane potAnA patinI rakSAno savAla che, ane khIjI bAju potAnA satItva ane kuLadharmanI mA~dAnI rakSAno prazna che. ene potAnA jIvananI rakSAnI to kazI ja ciMtA nathI. e vicAre che : ' huM to paLamAtramAM mArA prANuno tyAga karIne mArA satItvanI rakSA karI zakuM chuM : jIvatejIva to huM kyAreya e duSTa sulatAnanA hAthamAM nahIM paDuM; paraMtu mArA prANa ApavA chatAM zuM mArA svAmI khasI

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jaina kavi zrI hemaratnaviracita vIragAthA : gorA-mAdala-padamanI-kathA-caupaI : 293 zakaze ane cittoDano sarvanAza thato aTakI jaze kharo ?' (19) A aMge keTaloka vicAra karIne padminI potAnA vizvAsapAtra rAjapUta yoddhA gorA rAvatane ghera pahoMce che. gorA moTo vIra ane parAkramI rAjapUta che, paNa koI kAraNasara e rAjA ratanasenathI asaMtuSTa banIne rAjadarabArathI alipta rahe che. rAjamAtA padminInI vAta sAMbhaLIne e khUba ciMtAmAM paDI jAya che; ane A Aphatano sAmano kevI rIte thaI zake eno upAya vicAre che. eno eka bhatrIjo bAdala yuvAna, ghaNo muddhizALI ane bhAre zUravIra che. gorA enI sAthe vicAra kare che. kAko-bhatrIjo banne eka adbhuta prapaMca dvArA rAjAne choDAvI lAvavAnI yojanA ghaDe che. rANI padminI e sAMbhaLIne rAjI thAya che. (20) pachI e anne yoddhAo rAjadarabArIone maLIne emane potAnI yojanA samajAve che. badhA emanI sAthe sahamata thAya che; ane e pramANe badhI taiyArI karIne, padminIne bahAne pAlakhImAM gorA rAvatane chupAvIne, ene yogya khUba zobhA sAthe seMkaDo pAlakhIono rasAlo laI ne teo alAuddInanI chAvaNImAM pahoMce che. bAdazAha A chaLathI sAva ajJAta che, ane bhAre AturatAthI padminInuM svAgata karavAnI ghaDInI rAha joi rahyo che. (21) khAdala cupacApa rAjAne gorAnI pAlakhImAM esArI de che, ane ene killA tarapha ravAnA karI de che. eTalAmAM vAtano bheda khulI jAya che ane sulatAnanI chAvaNImAM doDadhAma macI jAya che. < dago ! dago !'nI bUmo sAthe tyAM mArAmArI ane kApAkApI zarU thaI jAya che. pAlakhIomAM chupAyelA sainiko vIra gorAnI AgevAnI nIce adbhuta vIratA dAkhavIne seMkaDo duzmana-sainikono saMhAra karI nAkhe che. gorA vIra zaurya dAkhavIne tyAM vIragatine pAme che. (22) potAnI senAno bhAre saMhAra thaI javAne lIdhe sulatAna hatAza thaI te dillI pAcho pharI jAya che. A rIte adbhuta parAkrama ane buddhibaLathI rAjA ratanasena ane rANI padminInI rakSA karavAne kAraNe bAdala vIrano sarvatra jayajayakAra thAya che. hemaratnanA A muddAomAM asaMbhavanIya ghaTanAno thoDo paNa AbhAsa nathI; badhI ghaTanAo kramabadda ane bahu ja svAbhAvika rIte varNavI che. ThekaThekANe hemaratne kathAnA AdhArabhUta keTalAMya prAcIna kavitta vagere ApyAM che, je niHzaMkapaNe pUrvavartI kavionI racanAomAMthI levAmAM AvyAM che. eka asaMgata vAta ane teno khulAso hemaratnanI kathAmAM je vAta asaMgata jevI lAge che te padminIne siMhala dezanI rAjakanyA kahI che e che. siMhalanI atyaMta rUpavatI rAjakanyAonI kathAone lIdhe kathAkAroe siMhalane padminInuM piyara mAnI laI ne eno e rIte pracAra karyo hoya e banavAjoga che. rAjasthAnanA mahAna itihAsakAra sva. gaurIzaMkara ojhAjIe A aMge evI kalpanA karI che ke rAjA ratanasena siMhala jeTalA sudUranA pradezamAM jaI te padminIne paraNI lAvyo hoya e koI rIte saMbhavita nathI. saMbhava che ke padminI mevADanA siMgolI jevA sthAnanI rAjakanyA hoya ane bhATo vageree zabdasAmyane lIdhe enuM ' siMhala ' banAvI dIdhuM hoya . joke mArI pAse koI AdhAra nathI, chatAM mArI kalpanA che ke padminI siMhala dezanI nahi paNa siMdhala arthAt prasiddha siMdha pradezanA koI rAjapUtanI kanyA haze. siMdhalanI strIonA rUpa-lAvaNyanuM varNana rAjasthAnanA pAchaLanA kavioe khUba karyuM che, ane siMdhalanI rUpavatI strIone rAjasthAnanI strIonA sauMdaryanA pratIka tarIke varNavavAmAM AvI che. karnala TaoN siMhalanA rAjA ane padminInA pitAnuM nAma hamIrasiMha lakhyuM che, ane ene cauhANa vaMzano kahyo che. siMhala arthAt laMkAmAM cauhANa rAjAnuM hovuM sarvathA asaMbhava che. hamIrasiMha nAma paNa zuddhe rAjasthAnI che. tethI karnala TaoNDanA A ullekhamAM kaMI paNa tathya hoya to te ' siMhala 'ne sthAne ' siMdhala ' mAnI levAthI sArthaka thaI zake che, ane padminInI zarUAtanI AkhI kathA saMbhavita ane saMgata banI zake che.

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294H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha jAyasI ane hemaratnanI racanAomAM taphAvata jAyasI pavinInA vAstavika AtmAne pichAnato na hato. ene enA lokavizruta ItihAsanuM paNa vizeSa jJAna na hatuM; e cittoDanA rAjA ratanasenane cauhANa mAne che. jAyasI kevaLa kAvyanI dRSTie A kathAnuM Alekhana kare che. enA bhAvomAM AtmIyatAno AbhAsa nathI. e vAMcatAM kavitAno AsvAda to maLe che. paraMtu kathAmAM AvatAM pAtronA AlekhanamAM koI potApaNAnuM saMvedana thatuM nathI. enAM varNano khUba lAMbA-lAMbAM ane upamA vagere alaMkArothI bharelAM che. jANe kavi A kathA nimitte potAnI kAvya-zakitane dekhADavA mAgato hoya evo ja AbhAsa A racanA vAMcatAM thAya che. jAyasIe keTalAMka varNano to evo musalamAnI DhoLa caDAvIne lakhyAM che ke je saMskArI, dharmanika hiMdune sAMbhaLavAM ke vAMcavAM na game. hemaratnanI racanA sahaja, akRtrima, hRdayaMgama ane bhAvoddabodhaka che. pavinI, rAjA ratanasena, gorA-bAdala, rAghava cetana ane allAuddIna vagere badhAM pAtronuM Alekhana, te te vyakitanA svabhAvane anurUpa, sAva ADaMbara vagaranuM thayuM che. AmAM koI jAtanI kRtrimatAno AbhAsa sudhdhAM nathI thato. jANe ema lAge che ke hemaratna potAnI AMkhe dekhelI ghaTanAonuM hUbahU varNana karI rahyA che. A varNana sAthe jANe eno AtmIya saMbaMdha abhivyakta thAya che. hemarananI kRtimAM bhAratanI eka zreSTha satI nArInA akhaMDa zIlavatanuM, sAcA svAmibhakta rAjapUta yoddhAnA svadharma kAje samarpita thaI javAnA udAtta jIvanavratanuM zraddhAbharyuM Alekhana jovA maLe che. hemaratnanI A racanA ApaNuM eka rASTrIya gIta che. temane je rIte padminInI kathA varNavI che, lagabhaga e ja prakAre enA samakAlIna musalamAna itihAsalekhakoe paNa e ghaTanAnuM varNana karyuM che. ghaTanAnI aitihAsikatA: DaoN. kAnagonA matanuM nirAkaraNa paNa, jAyasInI asaMbaddha ane aprAsaMgika vAtothI bharelI padminInI kathA prakAzamAM AvatAM, aneka vAcakone enI yathArthatA upara zaMkA thavA lAgI, ane aneka etihAsika jijJAsuo ane vidvAnoe e saMbaMdhI UhApoha zarU karyo. bhAratanA prAcIna ItihAsane zaMkAnI daSTie jonArAone padmAvatI-pavinInI kathAno, jAyasInA samayathI pahelAMnA samayano. koI vizvAsapAtra strota na dekhAyo. tethI teo evA abhiprAya upara AvyA ke-pavinInI A kathA e kevaLa jAyasInI kalpanA ja che; emAM koI aitihAsika tathya che nahi. alAuddIne cittoDa upara AkramaNa karIne enA upara IsalAmano jhaMDo pharakAvyo, eno ullekha allAuddInanA potAnA darabArI lekhakoe karyo che, ane emanAmAM sauthI mukhya prasiddha lekhaka amIra khusaru che. amIra khusaru pote cittoDanA AkramaNa vakhate allAuddInanI sAthe hato. eNe e laDAInuM varNana karatAM cittoDanA rAjA ratanasena ane rANI padamAvatI ke padminIno jarAsarakho paNa nirdeza karyo nathI. pachI akabaranA samayamAM thayelA musalamAna itihAsalekhako, jemAM pharistA ane abulaphajala vagereno samAveza thAya che, emaNe padminInI ghaTanAnuM varNana karyuM che; paraMtu teo jAyasI pachI thayA che, eTale emanI kathAno mukhya AdhAra jAyasInuM paddamAvata ja che. ene ja AdhAre pachInA hiMdu kavioe paNa padminInI kathAne pracalita karI vagere vagere-A matanA mukhya pracAraka che suprasiddha itihAsattA baMgALanA vidvAna DaoN. kAlikAraMjana kAnago. DaoN. kAnagoe potAnI mAnyatAnA samarthanamAM keTalAka tarka ApyA che. eka to e ke alAuddInanA samakAlIna itihAsalekhakoe padminIno kazo nirdeza karyo nathI. bIjuM, jAyasInI pahelAM padminI saMbaMdhI koI racanA maLatI nathI. trIjuM, pachIthI thayelA bhATacAraNoe paviAnIne lagatI je katha kahI che emAM parasparamAM visaMvAda ane kALakramano asaMbaddha ullekha che.

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jaina kavi zrI hemaratnaviracita vIragAthA geraAdalapadamanakathA-caupAI : ra95 DaoN. kAnUnago jevA vicArakonuM khaMDana karanArAomAM rAjasthAnanA jANItA itihAsana Do. dazaratha zamAM mukhya che. emaNe keTalAMka viziSTa aitihAsika pramANone AdhAre padminInI kathAne ItihAsasiddha sAbita karavAno prayatna karyo che. bikAnerathI pragaTa thayela, agAu sUcita, labdhodaya kavinI padminIcaupaInI zarUAtamAM "rAnI padminI-eka vivecana' zIrSaka DaoN. zarmAno TUMko chatAM sArabhUta lekha chapAyo che. emAM DaoN. zarmAjIe DaoN. kAnagonA takono javAba ApatAM kahyuM che ke allAuddInanA samakAlIna lekhakoe padminI saMbaMdhI carcA nathI karI e hakIkatane koI prabaLa pramANarUpa na lekhI zakAya; e lekhakoe to evI aneka bAbatono ullekha nathI karyo ke je anya pramANothI jANI zakAya che. jAyasInI pahelAM padminInA astitvano sUcaka koI etihAsika ullekha nathI maLato, evo Do. kAnUnagono bIjo tarka paNa barAbara nathI. jAyasI pahelAM (saM. 1583mAM) racAyelI chilA varSamAM ratanasena, padminI, gorA-bAdala ane cittoDanI ghaTanAno spaSTa ullekha maLe che. koI ajJAta kI ke cAraNe racelAM gorA-bAdalanA caritrane lagatAM kavitta maLI AvyAM che, je bhASAnI dRSTie jAyasI pahelAMnAM mAlUma paDe che. rAjA ratanasiMhano saM. 1359no spaSTa zilAlekha cittoDamAMthI maLI Avyo che; ene AdhAre e vakhate e tyAMno rAjA hato e nizcita thAya che. A tarkone AdhAre DaoN. zarmAjIe ema puravAra karyuM che ke jAyasInA pakSamAvata"nI pahelAM ja padminInI kathA ane alAuddInanI laMpaTatA sArI rIte jANItI thaI cUkI hatI. hemaratnane jAyasInA "mAvata' saMbaMdhI kazI jANakArI nahi hatI. emaNe to rAjasthAnamAM parApUrvathI lokavikhyAta banelAM kathAbIjone AdhAre potAnI svataMtra kRti racI che. e spaSTa kahe che ke muLa ti, mAdhya3 saMvaMdhi' (A pratinI prazasti, kaDI 10) arthAta meM jevo saMbaMdha sAMbhaLyo tevo kahyo che. vaLI, kavi potAnI racanAnA prAraMbhamAM ja kahe che ke "DhavazuM sAva thA, Li na mArU " (trIjI kaDI) eTale ke huM sAcI kathA racIza ane emAM koI khoDa arthAta asatya nahi AvavA dauM. A rIte hemaratvanI kathA ane enAM mukhya pAtro bilakula aitihAsika hatAM, emAM zaMkA nathI. padminInI A kathA sukhAMta kema? Ama chatAM eka vAtanuM Azcarya thayA vagara nathI rahetuM ke hemaratna vagere rAjasthAnanA kavioe padminInA jIvananI aMtima ghaTanA (potAnA patinI pAchaLa satI thavA) aMge kema kazuM nathI lakhyuM? A rAjasthAnI kavio padminInI kathAne sukhAMta rUpamAM ja pUrI kare che; ane e kathAno jevo karuNa aMta jAyasIe varNavyo che, e aMge sarvathA mauna seve che, ema kema banyuM haze ? patinI saMbaMdhI badhI kathAomAM sauthI vadhAre saMgata ane AdhArabhUta racanA kavi hemarananI prastuta kRti jaNAya che. saMbhava che, pavinInA karuNa aMta aMge ene koI vizvAsapAtra AdhAra jANavA nahi maLyo hoya, tethI eNe enuM koI sUcana nahi karyuM hoya ane rAjA ratanasenanI mukitanI sAthe ja A kathAne sukhAnta rUpamAM pUrI karI dIdhI hoya. vIragAthAnI keTalIka prasAdI sAmAnya janasamudAyamAM rASTrabhAvanA ke rASTrIya cetanAno saMcAra kare evI adbhuta A vIragAthA dasa khaMDamAM vibhakata che. graMthanI prazastinI kaDIo, ane vacce vacce, AbhamAM tAraliyAnI jema, zobhI jao, gaurIzaMkara hIrAcaMdra ojhAta "uthapura rAjyanA datihAsa" khaMDa 2, pR0 495496.

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ra9 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava pratha UThatAM kavittone bAda karatAM caupAIo ane duhAonI kaDIonI saMkhyA 620 che. potAnA rASTranA gauravanI ke potAnI asmitAnI rakSA mATe sarvasva nyochAvara karavAnI preraNA ApatA A vIrakAvyanuM mUlya ciraMtana che. kavivara hemaratnanI AvI preraka ane baLakaTa bAnImAMthI thoDIka kAvyaprasAdI ahIM nIce rajU karavAmAM Ave che : khaMDa pahelo kathAnA mukhya vIrono nirdeza karatAM kavi zarUAtanA duhAmAM kahe che? sAmi-dharama jiNi sAcavi, vIrA rasa savizeSa | subhaTAM mahi sImA lahI, rAkhI khitravaTa rekhA || 6 || gorA rAvata ati guNI, vAdala ati balavaMtA bolisu vAta bihu taNI, suNiyo sagalA saMta | 7 || citrakUTa (cittoDa)nuM varNana karI kavi rAjA ratanasenano paricaya Ape che: tiNi gaDhi rAja karaI hilota, ratanasena rAja jasa-jetA prabala parAkrama pUra pratApa, pesI na sakaI jasu ghaTi pApa 18 ! avani ghI laga avicala ANa, bhAli paDaeN jasu bAI bhaNaT verI kaMda taNuu kuddAla, raNa-2sIu naI ati ruMDhAla | 19. padminI nArInuM sAmAnya varNana: bhamara ghaNu guMjArava karazuM, padamiNi-parimala mohyA kira, padamiNi taNuu paraMtara eha, bhUlA bhamara nA cheDa dehane 87 || khaMDa bIje paviNInuM duhAmAM vizeSa varNana: vAdala mahi jima vIjalI, caMcala ati camakaMti. mahala mAhitima te taNuuM, jhalahala tanu jhalakaMti || 114 / pAna prahasya padamiNI, gali taMbola gilaMti | niramala tana taMbola te, deha mahiya dI saMti | 115 / haMsa-gamaNi heja hasaI, vadana-kamala visaMti | daMtakulI dIsaI jisI, jANi ki hIrA hRti || 116 || vyAsa rAghavacetana; rAjAno kopa; vyAsanI vicAraNA : tiNi puri rAghava cetana vyAsa, vidyAruM adhika abhyAsa rAjA tiNi rIjhavI ghaNuM, muhata ghaNuM ghaI vyAsa taNuM . 123 || eka divasa padamaNi naI pAsa, jA beTha karI vilAsa | neha nitaMbanI cuMbani karaI, rAja AliMgana AcaraI / 125 || ti iprastAva rAghava vyAsa, hatau 5damiNi taNuI AvAsa | te dekhI rajA khuNasI, rAghava Uparikopa ja kIje 126 che.

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jaina kavi zrI hemaraviracita vIragAthA : gorA-khAdala-padamanI-kathA-copaI : 297 thalatA vyAsa na tevA mA,i mauna muhanathI kuMpA hi ! ikiMgsa sujha dIThI e padamiNI, khi harAvuM huM e taNI || 134 || vyAsa suNI ima ni bahanau, kuNu vesAsa kara sIhanau | rAjA mitra kadI navi hoI, nava dIThUThThuM ni suNI koI || 135 || khaMDa trIjo rAdhavanI dillI tarapha ravAnagI; alAuddInanI kRpA; pratiSodhanI pratijJA : Iba AlocI TrAyala-vyAsa, citrakoTa narka Dika vAsa | mANasa muhuraI leI karI, gaDhathI chAna garbha nIsarI || 137 || kinlIpati pratimAha pracaMDa, avani eka taMtre Abu akhaMDA sAyIna nava khaMDe nAma, rUpa sahu tehana kara silaNma || 142 // mA~na gRhata vadhIa para mA~hi, pRchA taDI niMta patisAhi ulagatA tUDa@ avanIsa, pUgI rAghava taNI jaMgIsa || 146 || ika dina AvivuM e abhimauna, tanasena mujha mahIjuM mana vAluM thayara kisI pari eha, saoNmi-dharma nai dIdhau cheha // 148 !! 66 tavuM huM jauM paNi apahatuM, citrakoTathI alagauM karuM / padi nAri kharI paDavI, kSatri pAtisAha karuM parabaDI || 149 || cothA khaMDamAM padmaNInI zodhamAM alAuddInano siMhaladvIpano phero phogaTa gayAnuM varNana Ave che. khaMDa pAMcamo alAuddIna rAdhavane padmiNI bIje kyAM che e pUche che; rAdhava caDhavaNI kare che; alAuddIna cittoDa para caDAI kare che : * 9 siMghaladIpa 5khe padamiNI, vale kahA~ chai kahi mujha bhaNI ''| vyAsa kaI saMmati suzrvinAtha, i vikSa piiSNunuM ahaMkA~jI || 235 || cittu disi viGga aDha cIto, vAcala mahiM visamai hArDi | ratanasena rAja rUMDhAla, kalaha karUra mahA saMdhAla || 236 || AraMbha tasu ghari nAri achai padamiNI, seSanAga siri jima hui maNI | leI na sakai koI teha, ti ikAraNa suM bhANuM ehu / / 239 || sAthe haI-- " saMli hA baMba, evaDuha koTa ii zrIjI jAta sahu hiMva tijaOM, gata cItI taNuMka suM gajaOM / / 238 | UbhA-tri zIjuM paSiI, jIvita pakaDuM banavuM bI '' | sabala sena le gAlima phi, dhara pUcha vAsiMga dhaDika | 239 || khaMDa ThTho ratanasenano sAmano; alAuddInanI vimAsaNa ane chetarapIMDInI yojanA : ratanasena piNu rosae cauiM, dIuM mAmi AvI paddhi subhaTa sena saja kIdhI sahu, balavaMta bolaI bado bahu | 247 | "sAhiM bala" nuM AviIM sadI, piSNui hiya nAsi ma Ae vahI nAsaMtA~ chaI nara naI khoDI, huM ThAlauM chuM Izu hiji DhoDi '' // 248 I

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298 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha sAMga kSaLa huM ke saMyAma, pi navi sIkha7 sei sa~ma / ghaNA marAlA bhUMgala mIra, atipati mAnI hIyai hIra || 4 || AzimasAta karjI Aloca, lasakara maruM chuM? saMkoya| vyAsa kahaI saMkSi suzo~, koDa na lIjai krima hI mA~ || i chAna koI ka ila-bheda, mata pAsau mama majeda | 66 vAta karAu kapaDA~ isI, sAhi hUMu hitra tumasuM khusI // 268 / / pamiNi hAthaa jImaNu taNI, mujhe ni khaMti achaSTa ati ghaNI avar na kAI mAgai sAhi, alapa senasuM Avai mAhi || 271 || eka vAra dekhI padamaNI, sAti sidhAvaI DhIlI batI "! ema kahI makathA pA~na, tanIna pRthA OM moMna || 22 || " 9 krima Avela tumi pAna " tava te bolaI...' suNi rAjjaina dha AsimasAhi kahajI ! ema, mAho-mAhi kahuM hiMva kema " || 73 || ~: khaMDa sAtamo alAuddInanuM Agamana; padminIno pIrasavAno inakAra; dAsIone joIne bAdazAhanuM acaraja : rAghava vyAsa kIu maMtraNau, ratanasena trupa jhAlaNa taNuu | nRpa-mani koi nahI chala-bheda khuJAnI mani adhika kheda // 284 ratanasena saralau mana mAMhi, maMtrI teDaNu melya sAhi / " sAhiba ! Aja padhAra mahi", ratanasena teDaI gahumahI || 287 || ratanasena hi nija dhari dhaNI, bhagati karAvai bhojana taNI | pabilki nAvi pratA~ jaI kahaI-zcimasaM yi jima rasa 294 ||301 | ni pari bhojana atarka kara3, janma sAlima mani ha254 baka * | padimijI nAri karyuM.... zrI ! saa, nija kari na racyuM huM prIsau || 302 || SaTa resa sarasa karuM rasavatI, prIsesI dAsI guNavatI / siMgAranuM sagaDI chokarI, pavRti aSTha jauM tumheM mani kharI '' || 303 || nijo AvI beTho pratisA, mane mahi lai adhika udAha | pariNi pA~" Sika para, dAsI AvI dikhADa' nUra || 308 !! ika AvI baisaNu de jAI, bIjI thAla meDAvaI ThAi ! trIjI Avi dhovADhaI hAtha, cothI DhAlaI camara sanAtha | 308 || dAsI AvaOM ima jU jUI, Azcima mati ati vihUbala huI / "" padimiNa A kai, A paddhamiNui, sarikhI dIsaI sahu kAmiNI || 310 || vyAsa kahaI..." saMkSi mujha pachI ! e sahu dAsI pardimabhUtaNI | vAra-vAra syuM jhabaka ema? pamiNu IMho padhArai kema ? / / 311 || uMcavuM dIsa" e AvAsa, ho jI piiNa taka nivAsa ratanasena zA ho raheche, pamiNi viraha khiH ika navi sahuI // 318 // sAmenA mahelanA gokhamAM padminIne joI ne bAdazAha dhelo banI jAya che : aho hA e kahe pazui ? A karyuM, kaI kahe huM khIi ? nAgakumara kA kA kiMnI iMdrANI mA~DDI apaharI ? " | 325 //

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jaina kavi zrI hemaratnaviracita vIragAthA : gorAbAdala-padamanIthA-caupAI : 299 ratanasena pAdazAhane vaLAvavA jatAM dagAthI keda pakaDAya che ? kAmakAja kaho hama bhaNI, tuma mahimAnI kIdhI che ! sIkha dIu hira ubhA rahI", AlimasAha kahaI gahagahI / 337 || bhUpa bhaNaI-"AgherA cala, jIma amaha jIva huI ati bhalau"] ema kahI AghauM saMcari7, gaDhathI bahari gR5 nI sariu // 338 . 5 mani koI nahI valavedha, khurasA muni adhikau badhA vyAsa kahaI-" e avasara achaI, Ima ma kahe jyI na kahiuM pachaI " \\ 338 || halakAya Alima asavAra, mAhoM-mAhi miyA jugAra; ratanasena jhAya tatakAla, vilalI vAta huI visarAla || 341 || ' khaMDa AThamo pradhAna dvArA alAuddInano padminIne soMpIne rAjAne choDAvavAno saMdezo Ave che: "hamakuM nAri diyau padamaNI, jima hama chADa gaDhanau dhaNI // ka55 | nahI tari prANa leza sahI, jau tuha IzuM pari dezau nahIM | jau tuha deza hama padamiNI, tau chusI gaDhanau dhaNI // 356 nahI tari gaDhapati lIdhau grAhI, gaDha piNa havaI leza sahI gaDha lIdhaI lIdhI 5damiNI, haThIu asapati karasI ghaNuM" I 357 nA padminIno oramAna putra vIrabhANa ane bIjA subhaTo padminIne alAudInane soMpI devA taiyAra thAya che : vIrabhaNa pizu padamaNi disI, detaoN hovaI mana mahi khuzI "INi mujha mAta taNuu sohAga, leI dIdhau dukha dauhAga || 363 / tiNi kAraNi detAM padaminI, vali mujha mAta haI sAminI" vIrabhANu samajAvI kahaI-"padamiNi dIdhaI sakaluM rahaI" || 364|| sagale subhaTe thApI vAta- padamiNi deza hila parabhAti" Ima AlocI UThathA jisai, padamiNi sahu sAMbhalIu tisaI || 366 II pavinInI vimAsaNu; gorA pAse gamana; gorAnuM AzvAsana : padamiNi heva hAI khalabhalI, "vAta burI che e sAMbhalI . khaMDa jIbha ! dahuM nija deha! piNa navi jAuM asuraoN geha / 367 || rAjA INi pari baMdhe dIuM, vasaI e Alocaha kIuT sagalA subhaTa huA satahINa! hi1 kiNu Agali bhASu dINa !! 368 // vakhata Isau mujha Aviu vahI, saraNAI ko dekhuM nahI ! hiva jagadIsa ! karI jai kizuM? dekhau saMkaTa AvirSe isuM 369 // re jIva! tuM navi bhANe dINa, jIva! ma hAlo re satINa maratAM sahuvaI samaraI sarI, dukha-sukha kama likhA hoI mahI" , 370 || hive citi citaI Ima padamiNi- " gorA-bAdila hI guNa tyAMsuM naI karuM vInatI, bIjo mAhi na dIsAI ratI" | 383| Ima AlocI 5damiNI nAri, caDi cakaDoli pahaMta bAri 1 sAtha leI sakhI parivAra, AvI gorilara darabAri II 384||

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300: zrI mahAvIra jaina vidyAlaya suvarNamahotsava carthI gorAno virocita javAba: gorau saoNnho dhAyo dhasI, vinaya karI Ima bolaI hasI ! mAta ! mA bahu kIdhI Aja, kahau padhAryA kehaI kAja || 386 .. Alasa mAhi AvI gaMga, pavitra huA mujha aMgaNu-aMga" | valatI bolaI Ima padamaNI, "huM AvI tumha malavA bhaNI || 387 || subhaTe sagale dIdhI sIkha, dayA dharamanI lIdhI dIkha | sIkha diu hiva tuha piNusahI, jima asura ghari jAuM vahI | 388 || subhaTa sahu haA satta hINa, khiti-pu ikhitravaTi haI khINuM | subhaTe sagale dAkhile dAu, padamiNi de naI leza rAha | 389|| hiva tumaha sIkha diu chau kisI? subhaTe sagale kIdhI isI" gorAu jaMpaI "suNi mujha mAta! gaDha mATe huM kahI mAtra! || 390 || kharaca na khA rAjA taNau, pUchaI koI nahI maMtraNa ! piNa mani Arati ma kara je mAta! bhalI husI hive sagalI vAta | 391 | jaI tuhi AvA mujha ghari vahI, tau asura ghari jAza nahI ! subhaTa taNau e nahI saMketa, a kI daI naI lIja jea | 392 || padamiNi jaM5I"gorA! suzuu, iNi ghara chAjai e maMtraNa che sirikha I-sirikha sagale thAI, bhIta navI citra likhAI " || 35 | bAdalanI garjanA : gorAu jaM5I-"suNi mujha mAI ! gAjaNa huMtau mujha vaDa bhAI ! tasu suta bAdala ati balavaMta, teha naI paNa jaI pUcha maMta" | 398 || behI AyA bAdala disI, bAdila sanho dhAyau dhasI. vinayavaMta paga karIya praNAma, pachaI bAdala-"kahau kAma?" || 399 gorAu jaMpaI-"bAdila suNau, subhaTe kIdhau e maMtraNauI 5damiNi deI naI leza rAya! avAra na maMDaLa koI upAya che 400 padamiNi AvI Apa pAsa, hiva tau kAcuM kahaI vimAsI ! tAnaI pUchaNa AvyA sahI, karazAM vAta tuhArI kahI" || 401 | padamiNi badilasuM vili bhaNaI---"saraNui AvI huM tuha taNui | rAkhI sakau u rAkhau sahI, nahI tari pAchI jAuM vahI ( 405|| khaMDa jIbha dahuM nija deha, piNa navi jAuM asuro geha , lAkhA ja maha2 kari naI baluM, piNi nahi koTa thakI nIkale " || 406 || duhA Ima suNi badila bolIu, dUTha mahA duradaMta! jANi ki gayava2 gAu, atula balI ekata || 40 | suNi bAbA !" bAdila kahaI, "subhaTas kuNa kaoNma? I subhaTa sahu sUe rahau, e karicyuM huM kaoNma || 408 kAkA the kaoNI khalabhalau, aMgima dharau utA5] tala huM bAdila tAhara, sayala hajuM saMtApa || 409 |

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jaina kavi zrI hemaraviracita vIragAthAH gorabadala padamanakathA-cAIH 301 5damiNi maNi paga dIu, pavitra hau mujha gehA mahali padhAraje mAulI, dukha ma dharau nija dehi || 410 che. Alima bhAMje ekalau, jau vaoNsaI jagadIsa | tau huM bAdila bahasIu, jau ANuM avanI sa" || 41 || . khaMDa navamo. bAdalanI mAtA ane patnI bAdalanA yuddhe caDavAnA samAcArathI ciMtita thaIne ene yuddha na caDavA samajAve che. paNa dRDhanizcayI bAdala chevaTe potAnI patnIne samajAvI le che, ane yuddha caDavA sajaja thAya che. pachI potAno jIva bacAvavA IcchatA susTane e samajAve che : kAyA-mAyA be kArimI, ghaDI eka vaoNkI ghaDI eka samI | kAyara huu athavA huI sUra, maraNa kiIthI na lai du2 || 487 ||. tau te maraNa samArI ma2u, DhaoNThA hoI kis Ugara | 'padamiNi dIdhI' kahII kema, pati 2AkhaNanuM jau chaI prema" || 488 || vIrabhaNa ane bAdala vacce vAtacIta; bAdalanI ravAnagI : vIrabhANu Ima nisuthI bhaNaI-"bAdila! boliu tuM bali ghaNuI bhASI sahu bhalI taDeM vAta, paNa navi prIchaI tuM tila mAtra | 489 ||. Alima Isa taNuu avatAra, lasakara lAkha satAvIsa lArI yavanI subhaTa vaDA jhujhAra, haNuI he kIka heli hAra | 490 | ' sAhI lIdhau vali siradAra, jhUjhatA AvaI tasu bhArI koI pari hila pahacaI nahI, nahi tari mahe vali jhUjhata sahI" || 491 || bAdila bola I-"kuMara suNuu, e Aloca nahI ApaNuu| kisA Aloca karaI kesarI? mAra mayagala mAthaI dharI" | 492 || vIrabhANu hila bolaI valI- badila ! tujha mati atinimilI | arajaNa te je vAlaI gAI, kari jima hila tujha AvaI dAI || 45 . rAja chuTAI 5damiNi rahaI, iNi vAtA~ kuNu navi gahagaI " bAdila bola I-"kuMara ! suNa! ko upara vAMsaThe ghaNuu || 496 || huM jAuM chuM lasakara mAhi, AvuM vAta sahu avagAhi"]. kAra juhAra bAdila asi caDile, sAhasi surapati sAMsaduM paDau | 497 | khaMDa dasamo jema alAudIne prapaMca racIne ratanasenane keda pakaDyo hato te rIte bAdala alAudInane gIne ratanasenane choDAvavAnI yojanA ghaDe che. te bAdazAha pAse jaIne ene kahe che ke tamane mahelamAM joyA tyArathI padminI to tamArA upara Asakta thaI che. tame kaho to enI be hajAra dAsIonA rasAlA sAthe ene ahIM laI AvuM. kAmAMdha bAdazAha kabUla thAya che, ane bAlane kImatI bheTo ApIne enuM bahumAna kare che. bAdala AvIne vIrabhANane ane saune badhI vAta kahe che ane potAnI yojanA samajAve che. pachI be hajAra pAlakhIomAM darekamAM be-be subhaTone ane padminInI pAlakhImAM gorA rAvatane besADI bAdala e badhuM laIne bAdazAhanI chAvaNImAM jAya che; bAdazAhane samajAvI enA lakarane Adha mokalAvI de che ane sikatathI ratanasenane choDAvI gaDhamAM mokalI de che. ratanasena sakala

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302 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thaW gaDhamAM pahoMcI gayAno Dhola-vAjAMno avAja sAMbhaLIne pAlakhIomAMnA sabhyo bAdazAhanI chAvaNI upara tUTI paDe che. lazakarane mokhare gorA ane bAdala che. bAdazAhane paDakAra karavAmAM Ave che : re! re! Alima Ubhale rahe, hive nAsI mata jaI vahe ! 5damiNi ANI chaThe ahi jikA, to naI hilaI dikhAhaoN tikA" 581 || pachI to alAuddInanuM lazkara AvI caDe che ane khUnakhAra jaMga jAme che. tyAre alAuddIna kahe che: "re! re! phUDa kI bAdilaOM, Avau subhaTa sahU hila kila". halakAya apati nija dha, dhAyA kilalI karataoN kola || 584 yuddhamAM gorAnuM parAkrama, rAjA-rANInuM yuddhadarzana; gorAnI vIragatiH sUrija nija ratha kheMcI rahaI, ragati-vigati navi kAMI lahaI INi avasari gorau gajagAhi, dhAI Avi jiha nisAha / pa3 . medAu khaDaga mahAbali jisao, asapati alagau nAkau tisaE 1 bolAI bAdila be kara jouM, "nAsaMtaoN mAryo chaOM khohi" | 54 ratanasena rAjA ati bhalau, gaDha UparathI dekhAI kilau jevI bAdila gorA taNaoN, hAtha mahAbala arigaMjaNa / 595TI padamiNi UbhI ghaI AsIsa, "cha bAdila koDa rIsa | dhanya dhanya balihArI tUjha, taI mujha rAkhiuM sagaluM gujha || 596 | subhaTa paNa cha ubhA eha, te sagalA nIsata nisanehI bAdila eka mahAbala sahI, satya thakI je kaI nahI / 597 || saoNmi-dharama sAcau sasaneha, rAkhI bAdila raNuTa reha"| gorau rAvata raNumahi rahiu, Alama-sena sahu lahu bahiu / 598 // vijaya; bAdalane vadhAmaNAM jayajayakAra hau jasa lIdha, karaNI bAdila adhiSI kIdhI. UghaDiyA gaDhanA bAraNA, birada huA bAdilanaI ghaNu || 602 . rAja saoNhau Aviu raMga, miliyA behI agAsaMgi! mahAmahochavi mAhe lIla, a desa bAdila naI dau | 603 bAdalanI mAtA ane patnI enuM svAgata kare che; gorAnI patnI satI thAya che; chellI be kaDIomAM kavi jANe kathAno sAra kahe che : birada bulAvaI bAdila ghaNu, saoNmi-dharama satavaMtaoN taNu! isau na koI huu sUra, trihuM bhaNe kIdhau jasapUra ! 619 / padamiNi rAkhI rAjA lau, gaDhanau bhAra ghaNuu jhIlIuM . riNavaTa karInaI rAkhI reha, namo namo bAdila guNa-geha | 20 || jodhapura tA. 1-12-66 A copAInI je kaDIo upara ApavAmAM AvI che te pahelAM upalabdha thayelI pratane AdhAre taiyAra karela nakalamAMthI levAmAM AvI che. A pachI, keTalAka vakhata pahelAM, kavi hemaratnanA potAnA hAthe lakhAyelI A caupainI harakata maLI AvI che ane atyAre huM enuM saMpAdana karI rahyo chuM, je rAjarathAna prAcyavidyA pratiSThAnanI granthamALAmAM 40mA granyAMka tarIke pragaTa thaze.

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|| nayantu vItavaH || puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekho [tIrthAdhirAja zatruMjaya uparathI maLela e zilAlekho tathA krusa graMthastha prazastilekho] AgamaprabhAkara munizrI puNyavijayajI A lekhamAM gUrjarezvaramahAmAtya vastupAla ane tejapAla saMbaMdhI adyAvadhi aprasiddha e zilAlekho ane dasa prazastilekho ApavAmAM AvyA che. upara jaNAvelA banne zilAlekho eka ja divase lakhAyelA che ane eka ja sthAnamAMthI maLa AvyA che, tethI A be zilAlekho vastupAla-tejapAle tIrthAdhirAja zatruMjayagiri upara karAvelI poLanA ja che te nizcita thAya che. bIjA zikSAlekhamAM zatruMjaya upara zrImadIzvarabhagavAnanA maMdiranI sAme poLa karAvyAno ullekha che tethI ema lAge che ke Aje jene vAghaNapoLa kahe che te poLanA sthAne vastupAla-tejapAlanI karAvelI poLa hovI joI e. prastuta zilAlekho paNa vAdhaNapoLanA samArakAmamAMthI maLI AvyA che tethI paNa A hakIkata vadhAre spaSTa thAya che. vastupAla-tejapAle karAvelI poLa kyAre jIrNa-zIrNa thaI haze? teno chIhAra ke tenA sthAne navIna poLa kyAre thaI? ane navI thayelI poLanuM vAghaNapoLa ' nAma kema thayuM ?--A hakIkata have zodhavI rahI. astu. pahelo zilAlekha saMskRtapadyamaya che. khIjA zilAlekhanI racanA saMskRta gadya-padyamaya che. banne zilAlekhomAM AvatAM keTalAM'ka padyo gUrjarezvarapurohita somezvaradevaviracita lavasahI-( AsmU )- prazastilekha, zrIudayaprabhasUriviracita sukRtakArtikallolinI, zrIarisiMha kuraviracita sukRtasaMkIrtana, ane zrInarendraprabhasUriSkRta vastupAlaprazasti AdimAM maLe che, tethI A zilAlekhono padyavibhAga vastupAlasaMbaMdhita sAhityamAMthI levAyo che te nizrita thAya che.

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304 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava prastha te pahelA zilAlekhamAM vastupAla-tejapAlanI saMkSipta yazogAthA che, ane te bIjA zilAlekhanI pUrvabhUmikArUpa che. AthI e spaSTa thAya che ke vastupAla-tejapAle aviratapaNe lakSmIno vyaya karavAmAM pAchIpAnI nahotI karI; tema ja teo yuddhabhUmimAM jyavaMtA yoddhA hovA uparAMta uttama koTinA rAjanItijJa hatA. bIjA zilAlekhanI mukhya cAra hakIkato A pramANe che : 1. vastupAla-tejapAle zatruMjaya upara ujAMtAvatAra, staMbhanaka tIrvAvatAra, satyapura tIthavatAra, naMdIzvarAvatAra ane zakunikAvihArAvatAranA nAme pAMca tIrtharamAraka maMdiro karAvyAM hatAM, indramaM5 karAvyo hato, kAdiyakSanA maMdirano jIrNoddhAra karAvyo hato, tejapAlanI patnI anupamAnA nAmanuM anupamA sarovara baMdhAvyuM hatuM, ane mULanAyaka zrI AdIzvarabhagavAnanA maMdira sAme pUrva-pazcima-bhAgamAM potAnI ane potAnA bhAIonI mUrtio sahita eka poLa karAvI hatI. 2. vastupAlanAM mAtA-pitA ane bhAIonAM nAmono ullekha. 3. vastupAla-tejapAlana zrIsaMdha pratye ananya bahumAnavALo bhaktibhAva. 4. vastupAla, gUrjarezvara mahArAjA viradhavala, lAvaNyAMga-luNiga (vastupAlanA moTA bhAI), malladeva-mAladeva (vastupAlanA moTA bhAI), tejapAla (vastupAlanA nAnA bhAI), jaitrasiMha (vastupAlanA putra), ane lUNasiMha(tejapAlanA putra)nI guNAnuvAdapUrvaka yazogAthA. A banne zilAlekhone zilA upara lakhanAra khaMbhAtanivAsI vAjaDano putra dhruvaka aTakavALo jayasiMha che. giranAranA zilAlekhonA AdhAre A jayatasiMhanuM aparanAma jaitrasiMha hatuM ane te kAyastharvazIya vAliganA putra sahajiganA putra vAjAno putra hato e hakIkata jANI zakAya che. pahelA zilAlekho kotaranAra bakulasvAmI nAmanA zilpIno putra dhuvaka aTakavALo puruSottama che. giranAranA zilAlekhonA AdhAre A puraSottama vastupAle zatruMjaya upara bAMdhelA idramaMDapa ane naMdIzvarAvatAranA mukhya zipI somadevanA putra bakulasvAmIno putra hato e jANI zakAya che. bIjA zilAlekhano kotaranAra kumArasiMha nAmano sUtradhAra che. A kumArasiMha sUtradhAra vAhaDano putra hato te hakIkata giranAranA zilAlekho uparathI jANI zakAya che. Aja sudhImAM upalabdha thayelA vastupAlanA zilAlekhonI lipi ane utkIrNana suMdara che. potAnA zilAlekhonuM lipisauSThava barAbara jaLavAya te mATe lekhanakaLAmAM siddhahasta lekhakanI ane tadanusAra te lekhane suMdara rIte kotaranAra sUtradhAranI vastupAla khAsa pasaMdagI karatA hatA. Aje upalabdha thatA vastupAlanA zilAlekhomAM lekhaka ane utkIrNaka kalAkAronA nAmavALA je lekho zatruMjaya, giranAra ane khaMbhAtamAMthI maLyA che temAM lekhaka ane utkIrNaka upara jaNAvelA ja che. lUNavasahI(A)nA zilAlekhamAM lekhakanuM nAma nathI tethI temAM jaNAvelo ukIrNaka sUtradhAra kalhaNanA putra dhAMdhalano putra caDezvara lipimAM ane kotaravAmAM siddhahasta haze ema lAge che. AvI, koInA paNa kArya sAthe tenA nAmane amara karavAnI vastupAla jevI mahAnubhAvatA virala vyaktiomAM ja hoya che. 1 juo giranAra InDizansa, i0 2, 21 29, 2 juo giranAra inDizansa, naM0 2, 23-24, 24-25, 26-27, 28-29 3 juo giranAra ikizansa, naM. 2, 21-23, 27-28,

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paiTIno pahelo zikSAle (sumo pR. 305). jayagirivara uparathI, vAghaNa poLanA samArakAma daramyAna, tAjetaramAM maLI Avela mahAmaMtrI vastupAlanA vi. saM. 1288nA be zilAlekho tIrthAdhirAja NRELPERNBHAHIERREDEEMPIREELCLEASRAMSHEERMAHALTEERINTEDHIETIEETESTERNETERMITRAPHAREJIAENT ALBSLATDERLELATMASAMPLELETERESTENILEVAMPALJENERALLERATURATECREEDHANETICE TEYATIENDRALAMRUTELAnkanti Meteo2PUBLESIDERA222)22 RALREAD:22222222PSSPPBTURAL R2320 2NRELEDISPLEASDSEEIRLPRILDRDETERRRRRELEBRATREADERERIENDROIRREETTPTETTEBAjaee ERLEP121 PIEBENBORALLI SPRARADBej@2H2E PROCEDEEZELHANDEZE215 22LBULDREJRELETERPRETASTICERMADE ETERNEHEARNERATEEJETHERAPHEERAPIPEETAITREATRE HERMEREATERESELECTRONIDHSEPARANTERENDRAJEEEEETREHREEMEETTERenepal taravsiteREATRE BEACH.APROBAREA RSEELPEECIPTETAPLE A REDETECEAESTER janAmATERIERY bhAbhaREJI B2ERIEnter SEPERDE REE EMBERRCIDEDJLATEGDP R EETTERPOTam GejRDERATERIAL PLURANDAIEEEEEELAADDEDISHAthA222) IEETIRSAIDEHETREEEEEEERIEMEDNA MARRIERREN PABORESRIPERERADE GR232) 217 2RRP P12092DRY2EX VIPREPARATE SGUDA N DEBRERAS PERISTREUZEAZAIG222BDUPA A MEEADESHepaERIESBAKRISPINEERPLECPILDRENIPRESIDBHealatakRRDPREETENANTIPREM MAHANTERA-Tasana HAPPDARBAR

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ARRANGE ra CHARACTER PRO kAlAdhaNAlAnASHERE mitimAhatA sAmAjika amazins havAmAnAmA vinimalita ANA HEDEAnnasavAnamavAbaravAmAvalama CdduanAmAkara wardiodizAkAmarilavAmAmAgATavaDAlakaraNamImahayanyAsasa Me a nipaymshlespasati minImAlAdaarzAvAlanama samApanAvadarabanavilakAkAlanamalapukAzanikamA srd r mAnabiasardaausnATIma hAnIlagaaleebidavapamAna nAvArapavayamama emavAlayakAritAmAbamarana namasanakA a HlI tamAma hila RDAEETURIA masAsArAvadhAinaka barasAnAmA nAra daladAyabArahavalamsa Earaea yAdaECHERI vAvAmAmaupanAyavikAdhavana TOL kalitasiMharAvarAta ramavA jAva Lalgaerlan alalalalalaaaaanaaaaaaa ENERAMBrmetikAravAlAlamahAzavATA MalepirAmarAmAlAravAlAkSarAtamadhyatAmara kAlimAlAvAacher agrin lagaalaidh Aagaan magalAnAmA samyakathanamalavamAna dumInisvinAmumatisAvAkamAvaNavaNyAvAvadhivAsamA sAmaliaazAnA-sAmAzimiTAkAratAmayAmImahAmAyAjAla mAninAmalamAyagAamalanAnimAyabalatApatagaNamAlArAvibihAravAditA BAdhikAlAgrIgomA mazinuparanaaHdasAdAminamA vanapakSamAdAyavAdAti AbAvanavAyAaaaalagAdadAbAumAlAgasavanAvAhakamAnalamA EFFERague nAmAmAninavAsa vidhIvilinasamApadabhAvanimana mana bAyakAlidAsAnAyakA SUREFsapAlI gayAantre FREE masAnalamAyApAlagAvAmadAramatAnA SLCLOTHEREIPTEMLEUPERMEDIAETEREETDIDISTERS Pareeram ataamRREPLIEDIERSEPTER TOPATTERRBEIRUPARDESTRICTETAPTERPRETIREMENTS 22DESENDEmmeerajEBEEDLENTERNET SELECTRESSLEEPI FDMEDEPTETAPELDIEEERE ALTRA tIrthAdhirAja zatruMjayagirivara uparathI, vAghaNa poLanA samArakAma daramyAna, tAjetaramAM maLI Avela mahAmaMtrA vastupAlanA vi. saM. 1288 nA be zilAlekho paikIno bIjo zilAlekha (juo pAnuM 305).

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekho : 35 bIjA zilAlekhamAM AvatI zatruMjaya upara poLa karAvyAnI hakIkata sivAyanI banne zilAlekhonI hakIkta vastupAlanA saMbaMdhamAM racAyelA sAhityamAM ane prazastilekhomAM maLI Ave che; eTaluM ja nahi paNa A zilAlekhomAM jeno ullekha nathI tevI vastupAlasaMbaMdhI hakIkato Aje moTA pramANamAM maLI Ave che. teno saMkSipta nirdeza karatAM pahelAM prastuta banne zilAlekhono bhAvArthasahita akSaraza: pATha ane vastupAlane lagatA adyAvadhi aprasiddha dasa prazastilekho ane teno TUMka paricaya Apavo ucita lAge che. zilAlekhAGka -1 [1] // // OM namaH zrIsarvajJAya // vizvasthitiprathamanATakasUtradhAro brAjhaM maho dhRtama......... .........namrakirITakoTi zakra.........surA sa yugA [2] didevaH // 1 // svairaM bhrAmyatu nAma vIradhavalakSoNIMdukIrtirdivaM pAtAlaM ca mahItalaM ca jaladherantazca naktaM divaM / dhIsiddhAMjananirmalaM vijayate zrIvastupAlAkhyayA tejaHpAla[3]samAhvayAbhavadidaM yasyA dvayaM netrayoH // 2 // deva svarnAtha ! kaSTaM, nanu ka iva bhavAn ? naMdanodyAnapAla:, khedastatko'dya ? kenApyahaha! hRta itaH kAnanAt klpvRkssH| hu~ mA vA[4]dIstadetatkimapi karuNayA mAnavAnAM mayaiva prItyAdiSTo'yamuAstilakayati talaM vastupAlacchalena // 3 // vizve'smin kasya ceto da.........sya vizvAsamuccaiH prauDha-[5]zvetAMzurociH pracayasahacarI vastupAlasya kiirtiH| manye teneyamArohati giriSu.........yate gahvareSu sargotsaMgA.........jala (1) ......yAti pAtAlamUlam // 4 sa eSa niH-[6] zeSavipakSakAla: zrIvastupAlaH [padamadbhutAnAm] / yaH zaMkaropi praNayivrajasya vibhAti lkssmiiprirmbhrmyH||5|| kiMva.........ha.........nIrani.........muSya zrIvastupAlasacivasyA gunnprrohm| dainyA giro ...... neka ........ prItispRzaH kimapi yatra dRzaH patanti // 6 // zlAghyo na vIradhavalaH kSitipAvataMsaH kairnAma vikrama-nayAviva muurtimNtau| zrI[8vastupAla iti vIralalAma tejaH pAlazca buddhinilayaH sacivau yadIyau // 7 // 40 ca0 20

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306 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI anaMtaprAgalbhyaH [sa] jayati balI vIradhavala: sazailAM sAMbhoSiM bhuvamanizamuddha manasaH / imo mantri[9][praSThau] kamaThapati-kolAdhipakalA madabhrAM bibhrANo mudamudayinI yasya tanutaH // 8 // ...... naMdatu yAvadiMdu-tapanau satkarmaniSNAtatAM __ puSNAtu prayato jagannijaguNaiH prINAtu [10] [lokaM] pRnnaiH| zreyAMsi zrayatAM yazAMsi cinutAmenAMsi vidhvaMsatAM svAminya ...... vivAsanAM (1) ca tanutAM zrIvastupAlazciraM // 9 // duHsthatvena kadarthyamAnamakhilaM bhuulokmaalok[11]y nAvirbhUtakRpArasena sahasA vyaapaaritshcetsaa| pAtAlAlirAgataH svayamayaM zrIvastupAlacchalA ttejaHpAlamiSAnmahImanimiSAvAsAcca karNaH punaH // 10 // tena bhrAtRyu[12]gena yA pratipuragrAmAdhvazailasthalaM ___ vApIkUpa nipAnakAnanasaraH prAsAdasatrAdikA / dharmasthAnaparaMparA navatarA cakre'tha jIrNoddhatA tatsaMkhyApi na budhyate yadi pa[13]raM tadvedinI medinI // 11 // kSoNIpIThamiyadrajIkaNamiyatpAnIyabinduH patiH siMdhUnAmiyadaMgulaM viyadiyattAlA ca kAlasthitiH / itthaM tathyamavaiti yastribhuvane zrIva[14]stupAlasya tAM dharmasthAnaparaMparAM gaNayituM zaMke sa eva kSamaH // 12 // yAvaddivIMdunArko vAsukinA vasumatItale shessH| iha sahacaritastAvattejaHpAlena vastupAlo'stu // [15] 13 // zrIvikramasaMvat 1288 varSe pauSa zudi 15 zukre prazastiniSpannA // etAmalikhat vAjatanujanmA dhruvakajayatAsaMhAkhyaH / udakiradapi bakulasvAmisutaH puruSottamo vimalAM // zilAlekhAGka-2 . [1] // 0 // OM namaH zrIsarvajJAya // devaH sa vaH zatamakhapramukhAmaraughakluptaprathaH prathamatIrthapatiH punAtu / dharmakramo'pi kila kevala eva loke nItikramo'pi yadupakramameSa bhAti // 1 // zrIvikramasaMvat 1288 [2] varSe pauSa sudi 15 zukre zrImadaNahilapuravAstavyaprAgvATavaMzAlaMkaraNa Tha0 zrIcaNDapAtmaja Tha0 zrIcaNDaprasAdAMgaja Tha0 zrIsomatanuja Tha0 zrImAzArAjanandanena Tha0 zrIkumAradevIkukSisaMbhUtena Tha0 zrIlaNi[3]ga mahaM0 zrImAladevayoranujena mahaM0 zrIsejaHpAlAgrajanmanA caulukyakulanabhastalaprakAzanakamArtaNDamahArAjAdhirAjazrIbhuvanaprasAda devasutamahArAjazrIvIradhavaladevaprItipratipannarAjyasaI

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekha 307 zva[4]ryeNa saM[ 0] 77 varSe zrIzajayojayaMtaprabhRtimahAtIrthayAtrotsavaprabhAvAvirbhUtazrImaddevAdhidevaprasAdAsAdita...............tyena zrIzAradApratipannApatyena mahAmAtyazrIvastupAlena anuja mahaM0 zrItejaHpA[5]lena ca iha svakAritasauvarNadaMDakalazavirAjitasaccArutoraNAlaMkRtazrImadujayaMtastaMbhanakatIrthadvayAvatArara........ ......... hatamaM ............ nandIzvarasatyapurazakunikAvihArakapardiyakSAyatanoddhAra anupamAbhidhA[6]namahA sarovaraprabhRtipradhAnadharmasthAnaparaMparAvirAjitasya zrIzarbujayamahAtIrthamaulimukuTAyamAnasya zrI[? yugAdi tIrthakarazrIRSabhadevabhavanasyAgra..................pratolI kAritA // cha / cha [7] bhUyAdbhavalayasya vIradhavala: svAmI samudrAvadheH zrImudrAdhikRtaH kRtaH sukRtinA yenaashvraajaatmjH| yasmA ..... ...............vizvopakAravratI // 1 // dha[8]nyAtmA khalu vastupAlasacivaH sarvo'pi sampadyate yasaMparkavazena meduramadodrako vivekI jnH| tajjanmA............kautukamaho (1).. .......................rvitanute naivAntaraM kiMca[9]na // 2 // tyAgArAdhini rAdheye hyekakarNaiva bhUrabhUt / udite vastupAle tu dvikarNA varNyate'dhunA // 3 // zrIvastupAlate[jApA]lau jagatIjanasya ckssussyo| puruSottamAkSigatayoH syAtAM sadRzau na ravi-zazinoH // 4 // [10] tAbhyAmeva ca zrIgurjarendrasacivAbhyAmihaiva pratolyAH pazcimabhAgabhittidvaye zrIbhAdinAtha .....hasnAtrotsavanimittaM pUrNakalazopazobhitakarakamalayugalaM svabRhadAndhavayoH Tha0 [11] zrIlUNiga mahaM0 zrImAladevayoH zrImaddevAdhidevAbhimukhaM mUrtidvayamidaM kAritaM // cha / lAvaNyAMgaH zizurapi............kasya nAsItprazasyaH zlAghApAtraM dadhadapikalAmAtramidurvizeSAt / datte ciMtAmaNiraNura 12]pi prArthitAni prajAnAM tApaklAnti vidhuvati sudhAbiMdurapyaMgalagnaH // 1 // maMtrIzvaraH sa khalu kasya na malladevaH sthaanN............nijaanvynaamdheyH| niSSiSya nirdayamadharmamayaM yadaMgaM yenodamUlyata kliprtim[13]lldrpH||2|| malladeva iti devatAdhipazrIrabhUtribhuvana vibhuutibhuuH| dharmakarmadhiSaNAvazo yazorAzidAsitasitadyutiyutiH // 3 // tathA zrI zatrujayamahAtIrthayAtrAmahotsave samAgacchadatucchazrIzramaNasaMghA[14]ya kRtAMjalibaMdhabaMdhuraM pratolyAH pUrvabhAgabhittidvaye svakAritametayoreva zrImahAmAtyayoH pUrvAbhimukhaM [mUrti] yugalaM svAgataM pRcha(ccha)ti / uktaM ca etadarthasaMvAdi anenaiva zrIzAradApratipannaputreNa mahA[15]kavinA mahAmAtyazrIvastupAlena saMghapatinA adya me phalavatI piturAzA mAturAziSi zikhAM'kuritAdya / zrIyugAdijinayAtrikalokaM prINayAmyahamazeSamakhinnaH // 1 //

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308 : zrI mahAvIra jaina vidyAlaya suvarNamahaoNtsava grantha puNyalokadvayasyAsya tejaHpA[16]lasya maMtriNaH / devazca mara(1 ru)devazca zrIvIraH sarvvadA hRdi // 2 // tejaH pAlaH sacivataraNirnadatAdbhAgyabhUmi prApto guNaviTapibhirnirvyapohaH prarohaH / yacchAyAsu tribhuvanavanapreMkhiNISu pragalbhaM * prakrIDati [ 17 ] maramudaH kIrttayaH zrIsabhAyAH // 3 // yaH zaizave vinayavairiNi bodhavaMdhye dhatte nayaM ca vinayaM ca guNodayaM ca / soyaM manobhavaparAbhavajAgarUkarUpo na kaM manasi cuMbati jaitrasiMhaH // 4 // zrIvastupAla cirakA [18]la. . bhavatvadhikAdhika zrIH / yastAvakInaghanavRSTihRtAvaziSTaM ziSTeSu dausthya pAvakamucchinatti // 5 // zrI tejapAlatanayasya guNAnatulyAn zrI lUNasiMhakRtinaH kati na stuvanti 1 / [19] zrIbaMdhanoddhuratarairapi yaiH samaMtA duddAmatA trijagati kriyate'sya kIrttaH // 6 // prasAdAdAdinAthasya yakSasya ca kaparddinaH / vastupAlAnvayasyAstu prazastiH svastizAlinI // 7 // stambhatIrthadhruvajayatasiMhena likhitA // [20] utkIrNA ca sUtra * kumArasiMhena mahAmAtya zrIvastupAlasya prazastiriyaM // zubhamastu // cha // pahelA zilAlekhano bhAvArtha vizvasthitirUpa nATakanA prathama sUtradhAra, brahmatejane dhAraNa karanAra, karoDo IMdro ane surAsuro jemane vaMdana kare che te zrIyugAdideva jayavaMtA varto. (1) buddhirUpI siddhAMjanathI nirmaLa thayeluM vastupAla-tejapAlarUpI jenuM netrayugala che te vIradhavalanI arti svarga, pAtANa, pRthvI ne samudraparyanta sahoniza asaro. (2) iMdranA naMdanavanano rakhevALa iMdrane kahe che : he devalokanA svAmI ! upAdhi thaI che. iMdra kahe che: zI upAdhi che? udyAnapAla kahe che : ApaNA naMdanavanamAMthI kapakSa corAyuM che. iMdra kahe che : AvuM bola mA, manuSyo upara karuNA UpajavAthI meM kalpavRkSane vastupAlarUpe pRthvItaLane zobhAvavA kahyuM che. (3) cotho zloka khaMDita che tethI teno bhAvArtha lakhyo nathI. samasta zatruone parAjita karanAra ane AzcaryakArI jIvana jIvanAra A vastupAla snehIjanone sukha ApavAthI zaMkara samAna hovA chatAMya lakSmInA AliMganathI zobhAyamAna thaI ne prakAze che; eTale } viSNusamAna che. (5).

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekho : 309 chaThTha padya khaMDita che tethI tene bhAvArtha nathI lakhyo. mUrtimaMta zaurya ane nIti jevA anukrame vIraziromaNi vastupAla ane buddhimAna tejapAla jevA jenA maMtrI che tevA mahArAjA viradhavalanI koNa prazaMsA nathI karatuM? (7) kacchapAvatAra ane varAhAvatAranI kaLAne dhAraNa karanArA A be zreSamaMtrIo jenA udayakArI atIva AnaMdane phelAve che te anaMtazauryavALo baLavAna vIradhavala jaya pAme che. ahIM viradhavalane parvata ane samudrasahita pRthvIno niraMtara uddhAra icchanAra jaNavyo che. (8) pavitra jIvana jIvanAra zrIvAstupAla dIrdhakALa paryata sadAcArI janonuM poSaNa karo, potAnA jaga vyApi guNothI jagatane khuza karI, kalyANane varI, yaza meLavo ane pApono nAza karo. (9) dAridyathI pIDAtA mAnavIone joIne aMtaramAM karuNa UpajavAthI pAtALamAMthI balirAjA vastupAlarUpe ane svargamAMthI karNa tejapAlarUpe AvyA che. (10) te bAMdhavabelaDIe (vastupAla-tejapAle) pratyeka nagara, gAma, pravAsamArga ane parvata upara vAvo, kUvA, navANa, paraba, udyAna, sarovara, maMdira ane sadAvrato rUpI dharmasthAnanI je zreNi banAvI che tathA jeno jIrNoddhAra karyo che tenI saMkhyA paNa jANI zakAtI nathI-kadAca pRthvI te jANatI hoya to! (11) pRthvItalanAM rajakaNunI saMkhyA, samudranAM biMduonI saMkhyA, AkAzanI aMgulasaMkhyA ane kALasthitinI mAtrAonI saMkhyA jANanAra traNe lokamAM je koI hoya to bhale hoya, paNa vastupAle karelAM dharmasthAnonI gaNatarI karavA mATe pote vastupAla paNa samartha haze ke kema tenI zaMkA thAya che. (12) jyAM sudhI AkAzamAM caMdranI sAthe sUrya che, pAtALamAM vAsukI nAganI sAthe zeSanAga che, tyAM sudhI A lokamAM vastupAla ne tejapAlanuM sAhacarya ho. (13) zrI vikrama saMvata 1288nA varSamAM poSa suda 15 zukravAre A prazasti taiyAra thaI A suMdara prazastine vAjAnA putra dhruvaka aTakavALA jayasiMhe zilA upara lakhI ane bakulasvAmInA putra puruSottame kotarI. bIjA zilAlekhano bhAvArtha prAraMbhamAM sarvane namaskAra karyA che ane prathama tIrthaMkara zrIyugAdijinanI stuti karI che. zrI zatruMjaya ane giranAranI yAtrAnA utsavathI prabhAvita thaIne saMvata 1277mAM sarasvatInA dattakaputra mahAmAtya zrIvAstupAla ane tejapAle zatruMjayatIrtha upara suMdara toraNathI alaMkRta ujajayaMtAvatAra, staMbhanaka(khaMbhAta)tIrvAvatAra, naMdIzvarAvatAra, satyapura(sAcora)tIrvAvatAra ane zakunikAvihArAvatAra ema pAMca tIrthonAM pratIkarUpe maMdiro banAvyAM hatAM tathA anupamAnA nAmanuM sarovara karAvyuM hatuM tema ja kapadiyakSanA maMdirano punaruddhAra karyo hato. pote karAvelAM A dharmasthAnothI zobhAyamAna zatruMjaya mahAtIrthanA mukuTasamAna zrI yugAditIrthaMkarabhagavAnanA maMdiranI sAme vikrama saMvata 1288nA varSamAM poSa sudi 15 zukravAre aNahilapuranA rahevAsI prAgvATa(poravADa)vaMzamAM alaMkArasamAna Thakkara zrIcaMDaprasAdanA putra Thakakara zrIsamanA putra Thakakara zrIAzArAjanA putra ane zrIkumAradevInA putra tema ja Thakakura zrI hiMga ane mahAt zrImAladevanA nAnA bhAI tema ja tejapAlanA moTA bhAI caulukyavaMzamAM

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310 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha sUryasamAna mahArAjAdhirAja zrIbhuvanaprasAdadevanA putra mahArAjA zrIvIradhavalanI prItithI samagra rAjyanA ezvaryane pAmelA vastupAle tathA tenA nAnA bhAI tejapAle poLa karAvI. jeNe azvarAjanA putra(vastupAla)ne zrI mudrAdhikArI banAvyo te varadhavala rAjA samudra paryanta pRthvIno svAmI thAo. (1). - jenA paricayathI koI paNa mANasa nirmada ane vivekI thAya che tevI vastupAla kharekhara dhanyAtmA che. (2) - tyAgazala karNanA samayamAM pRthvI eka karNavALI hatI, te vastupAlanA udaya pachI be karNavALI thaI (3) zrIvAstupAla ane tejapAla jagatanA mANasonI AMkharUpa che, tethI viSNubhagavAnanI AMkharUpa sUrya-caMdranI upamA temanA mATe UMcita gaNAvI na joIe. (4) ane te ja be bhAIoe upara jaNAvelI poLanA pazcima bhAganI be bhIMto upara zrI AdinAthadevanI mATe AvelA.........snAtrotsavanamitta pUNekalazathI zobhAyamAna hastayugalavALA potAnI vaDIlabaMdhu Tha0 zrINiga ane mahAna zrImAladevanI mUrtio zrIdevAdhidevanA samukha banAvI. jema mAtra eka ja kaLAne dhAraNa karanAra caMdra vakhaNAya che-pUjAya che, ati nAnI ciMtAmaNi lokone Ichita Ape che ane aMga upara lagADeluM amRtanuM biMdu tApane dUra kare che, tema vayamAM bALaka hovA chatAM lUNasiMha (vastupAlano moTo bhAI) sarvajanomAM prazaMsApAtra che. (1) kaLiyuganuM adharmamaya aMga pIsIne jeNe kalikAlarUpI zatruno garva haNyo che tevA divyarUpavALA dhamika ane yazasvI maMtrIzvara malladeva(vastupAlanA moTA bhAI)nI prazaMsA koNa nathI karatuM? (2-3) tathA prastuta poLanA pUrva bhAganI be bhIMto upara banAvelI hAtha joDIne UbhelI potAnI (zrIvAstupAla ane tejapAlanI) mUrtio zrI zatruMjaya mahAtIrthayAtrA mahotsavanimitte AvatA mahAna zrIzramaNasaMdha prati svAgata pUche che. ahIM mahAkavi saMghapati zrIvastupAlanI aMtaromi jaNAvI che te A pramANe huM (vastupAla) Aje zrIyugAdijinanI yAtrAe AvelA samasta yAtrikone aDhAtapaNe khuza karuM -eTale ke yAtrikonI bhakti karuM chuM-AthI ja mArA pitAjInI AzA phaLI che ane mAtAjInI AzISamAM Aje aMkuro phUTyA che. (1) jenA banne loka pavitra che tevA zrI tejapAlanA hRdayamAM sadA zrIyugAdijina ane zrI vIrajina che. (2) jenI sabhAnI vistRta pramodavALI kItio traNe bhuvanamAM krIDA kare che tevA guNavAna, bhAgyavAna ane maMtrIomAM sUryasamAna tejapAla AnaMda pAmo. (3) vinayanuM jemAM bhAna na hoya evI abodha bAlyAvasthAmAM paNa je naya, vinaya ane guNodayane dhAraNa kare che te A jaitrasiMha (vastupAlana putra) sarva koInAM manane cuMbe che-sparze che. (4) jenA ApelA dAnano aMzamAtra paNa lokonuM dAridraya haNe che evA zrIvAstupAla adhikAdhika lakSmIvAna thAo. (5)

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekho : 311 jenA guNoe jenI kItine traNa jagatamAM vyApta karI che te A tejapAlanA putra lUNasiMhanA guNonI sarva prazaMsA re che. (6) bhagavAna zrI AdinAtha ane kapardiyakSanI kRpAthI A prazasti vastupAlanA vaMzanuM kalyANa karanArI thAo. (7) mahAmAtya zrIvastupAlanI A prazasti staMbhatIrtha(khaMbhAta)nivAsI dhruva jagatasiMhe lakhI ane sUtradhAra kumArasiMhe kotarI. kalyANa ho! have mahAmAtya zrIvAstupAla saMbaMdhita adyAvadhi aprasiddha daza prazastilekhono akSarazaH pATha ane te lekhono TUMka paricaya ApavAmAM Ave che ? prazastilekhAGka-1 svasti zrIvallizAlAyAM vastupAlAya mantriNe / yadyazaHzazinaH zatruduSkA zarvarIyitam // 1 // zauNDIro'pi vivekavAnapi jagattrAvA'pi dAtA'pi vA, ___ sarvaH ko'pi pathIha mantharagatiH zrIvastupAlazrite / svajyotirdahanAhutIkRtatamastomasya tigmAteH, __ kaH zItAMzupuraHsaro'pi pdviimnvetumutkndhrH1||2|| zrIvastupAlasacivasya yazaHprakAze, vizvaM tirodadhati dhUrjaTihAsabhAsi / manye samIpagatamapyavibhAjya haMsa, devaH sa panavasatizcalitaH samAdheH // 3 // vAstavaM vastupAlasya vetti kazcaritAmRtam 1 / yasya dAnamavizrAntamarthiSvapi ripuSvapi // 4 // zUnyeSu dviSatAM pureSu vipulajvAlAkarAlodayAH, khelanti sma davAnalacchalabhato yasya pratApAgnayaH / jambhante sma ca parvagarvitasitajyotiHsamutsekita jyotsnAkandalakomalAH zaravaNavyAjena ytkiirtyH||5|| kundaM mandapratApaM, girizagirirapAhaMkRtiH, sAsu binduH pUrNendaH. siddhasindhurvidhatavidhurimA, paJcajanyaH samanyuH / zeSAhirnirvizeSaH, kumudamapamadaM, kaumudI niSprasAdA, kSIrodaH sApanodaH, kSatamahima himaM yasya kIrteH purastAt // 6 // yasyovItilakasya kinnaragaNodgItairyazobhirmuhuH smeradvismayalolamaulivigalaccandrAmRtojIvinAm / spRSTi bhavadIhazI mama na me no me'pyavApyeti gAM muNDasakpariNaddhadhAtRzirasAM zambhuH paraM pipriye // 7 //

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312 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha rAkAtANDavitendumaNDalamahaHsandohasaMvAdibhiH yatkIrtiprakarairjagattrayatiraskAraikahevAkibhiH / anyonyAnavalokanAkulitayoH zailAtmajA-zUlinoH ka tvaM ca tvamiti pragalbharabhasaM vAco vicerurmithaH // 8 // bADhaM prauDhayati pratApazikhinaM kAmaM yazaHkaumudI sAmodAM tanute satAM vikacayatyAsyAravindAkarAn / zatrustrIkucapatravallivipinaM niHzeSataH zoSaya tyanyaH ko'pyudito raNAmbaratale yasyAsidhArAdharaH // 9 // tatsatyaM kRtibhiryadeSa bhuvanoddhArakadhaureyatAM bibhrANo bhRzamacyutasthitiratiprItyuttaraM gIyate / yatra prema ni[ra]rgalaM kamalayA sarvAGgamAliGgite. keSAM nAma na jajJire sumanasAmaurjityavatyo mudaH 1 // 10 // na yasya lakSmIpatirapyupaiti janArdanatvAt samatAM mukundH| vRSapriyo'pyugra iti prasiddhiM dadhat trinetro'pi na cAsya tulyaH // 11 // svasti zrIbalaye namo'stu nitarAM karNAya dAne yayo raspaSTe'pi dRzAM yazaH kiyadidaM vandyAstadetAH prjaaH| dRSTe sampati vastupAlasacivatyAge kariSyanti tAH kIrti kAJcana yA punaH sphuTamiyaM vizve'pi no mAsyati // 12 // yasmin vizvajanInavaibhavabhare vizvambharAM nirbhara zrIsambhAravibhAvyamAnaparamapremottarAM tanvati / prANipratyayakArikevalamabhUd dehIti saGkIrtanaM lokAnAM na kadApi dAnaviSayaM na prArthanAgocaram // 13 // dRzyante maNi-mauktikastabakitA yadvidvadeNIzo yajIvantyanujIvino'pi jagatazcintAzmavismAriNaH / yacca dhyAnamucaH smaranti guravo'pyazrAntamAzI giraH prAduHSantyamalA yazaHparimalA: zrIvastupAlasya te // 14 // koTIraiH kaTakA'GgalIya-tilakaiH keyUra-hArAdibhiH / kauzeyaizca vibhUSyamANavapuSo ytpaannivishraannitaiH| vidvAMso gRhamAgatAH praNayinIrapratyabhijJAbhRta staistaiH svaM zapathaiH kathaM kathamapi pratyAyayAJcakrire // 15 // taistairyena janAya kAJcanacayairazrAntavizrANitai rAninye bhuvanaM tadetadabhito'pyaizvaryakASThAM tthaa| - dAnaikavyasanI sa eva smbhuudtyntmntrythaa| . kAmaM durdhatidhAma yAcakaca bhUyo'pyasambhAvayan // 16 //

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazaritalekho : 313 tyAgo yadvasuvArivAritajagaddAridrayadAvAnala__zvetaH kaNTakakuTTanaikara sikaM varNAzrameSvanvaham / samAmazca samagravairivipadAmadvaitavaitaNDika stanmanye vasati tridhA'pi sacivottaMse'tra vIro rasaH // 17 // Azcarya vasuvRSTibhiH kRtamanaHkautUhalAkRSTibhi yasmin dAnaghanAghane tata ito varSatyapi pratyaham / dUre durdinasaMkathA'pi sudinaM tat kiJcidAsIt puna yenovalaye'tra ko'pi kamalolAsaH paraM nirmitaH // 18 // sAkSAd brahmaparamparAM gatamiva zreyovivartaH satAM tejaHpAla iti pratItamahimA tasyAnujanmA jyii| yo dhatte na dazAM kadApi kalitAvadyAmavidyAmayIM yaM copAsya parispRzanti kRtinaH sadyaH parAM nirvRtim // 19 // saGagrAmaH RtubhUmiratra satatoddIpraH pratApAnala: zrUyante sma samantataH zrutisukhodgArA dvijAnAM girH| mantrIzo'yamazeSakarmanipuNaH karmopadeSTA dviSo hotavyAH phalavAMstu vIradhavalo yajvA yazorAzibhiH // 20 // zlAghyo na vIradhavalaH kSitipAvataMsaH kairnAma vikrama-nayAviva mUrtimantau / zrIvastupAla iti vIralalAmatejaHpAlazca buddhinilayaH sacivau yadIyau // 21 // anantaprAgalbhyaH sa jayati balI vIradhavalaH sazailAM sAmbhodhiM bhuvmnishmuddhrtumnsH| imau mantripraSThau kamaThapati-kolAdhipakalAmadabhrAM bibhrANI mudamudayinIM yasya tanutaH // 22 // yuddhaM vAridhireSa vIradhavalakSmAzakradorvikramaH __ potastatra mahAn yazaHsitapaTATopena pInadyutiH / so'yaM sAramarudbhiraJcatu paraM pAraM kathaM na kSaNAd yatrA''zrAntamaritratAM kalayatastAveva mntriishvrau||23|| rauraM bhrAmyatu nAma vIradhavalakSoNIndukIrtirdivaM pAtAlaM ca mahItalaM ca jaladherantazca naktandivam / dhIsiddhAJjananirmalaM vijayate zrIvastupAlAkhyayA tejaHpAlasamAhvayA ca tadidaM yasyA dvayaM netrayoH // 24 // zrImantrIzvaravastupAlayazasAmuccAvacairvIcibhiH sarvasminnapi lambhite dhavalatAM klloliniimnnddle| gaGgaiveyamiti pratItivikalAstAmyanti kAmaM bhuvi bhrAmyantastanusAdamanditamudo mandAkinIdhArmikAH // 25 // haho rohaNa ! rohati tvayi muhuH kiM pInateyaM ? zRNu bhrAtaH! samprati vastupAlasacivatyAgairjagat prIyate /

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314H zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI tenAstaiva mamArthikuTTanakathAprItirdarI kinnarI- . gItaistasya yazo'mRtaizca tadiyaM medasvitA me'dhikam // 26 // deva! svarnAtha! kaSTa, nanu ka iva bhavAn ? nandanodyAnapAlaH, khedastatko'dya ? kenApyahaha ! tava hRtaH kAnanAt klpvRkssH| hu~ mA vAdIstadetat kimapi karuNayA mAnavAnAM mayaiva prItyAdiSTo'yamuAstilakayati talaM vastupAlacchalena // 27 // karNAyAstu namo namo'stu balaye tyAgaikahevAkinI yau dvAvapyupamAnasampadamiyatkAlaM gatau tyAginAm / bhAgyAmbhodhirataH paraM punarayaM zrI vastupAlazciraM manye dhAsyati dAnakarmaNi parAmaupamyadhaureyatAm // 28 // byomotsaGgarudhaH sudhAdhavalitAH kakSAgavAkSAGkitAH stambhazreNiviz2ambhamANamaNayo muktAvacUlojjvalAH / dinyAH kalpamRgIdRzazca viduSAM yattyAgalIlAyitaM vyAkurvanti gRhAH sa kasya na mude zrIvastupAlaH kRtI ? // 29 // yada durIkriyate sma nItiratinA zrIvastupAlena tata kAJcit saMvananauSadhImiva vazIkArAya tasyekSitum / / kIrtiH kauJjanikuJjamaJjanagiriM prAkzailamastAcalaM vindhyorvIdhara-zarvaparvata-mahAmerUnapi bhrAmyati // 30 // devaH paGkajabhUrvibhAvya bhuvanaM zrIvastupAlodbhavaiH zubhrAMzudyutibhiryazobhirabhito'lakSyairvilakSIkRtam / kalpAntodbhutadugdhanIradhipayaHsantApazaGkAkulaH .. zaGke vatsara-mAsa-vAsaragaNaM saMkhyAti sargasthiteH / / 31 // citraM citraM samudrAt kimapi niragamad vastupAlasya pANe yo dAnAmbupravAhaH sa khalu samabhavat kiirtisiddhsrvntii| sA'pi svacchandamArohati gaganatalaM khelati kSmAdharANAM zRGgotsaGgeSu raGgatyamarabhuvi muhurgAhate khecarorvIm // 32 // puNyArAmaH sakalasumanaHsaMstuto vastupAla statra smerA guNagaNamayI ketakIgulmapatiH / tasyAmAsIt kimapi tadidaM saurabhaM kIrtidambhAd yena prauDhaprasarasuhRdA vAsitA digvibhAgAH // 33 // secaM secaM sa khalu vipulairvAsanAvAripUraiH sphItAM sphAti vitaraNatarvastupAlena niitH| tacchAyAyAM bhuvanamakhilaM hanta! vizrAntametad dolAkeliM zrayati paritaH kIrttikanyA ca tasmin // 34 //

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekha tathA prazaritalekha : 315 zrIvastupAlayazasA vizadena dUrAdanyonyadarzanadaridradRzi trilokyAm / nAbhau svayambhuvi vasatyapi nirvizaGka zaGke sa cumbati hariH kamalAmukhendum // 35 // sa eSa niHzeSavipakSakAlaH zrIvastupAlaH padamabhUtAnAm / yaH zaGkaro'pi praNayivrajasya vibhAti lakSmIparirambharamyaH // 36 // cItkAraiH zakaTavajasya vikaTairazvIyaheSAravai rArAvai ravaNotkarasya bahalaiH bandIndrakolAhalaiH / nArINAmatha caccarIbhirazubhapretasya vitrastaye mantroccAramivA''cacAra caturo yastIrthayAtrAmaham // 37 // // ete maladhArinarendra prabha]sUrINAm // zrIraivatAcalasthazrIzatruJjayAvatArapraveze vAmamittigA prazastireSA // cha / prazastilekhAGka-2 zrayaH puSyatu zAzvataM yadukulakSIrArNavendurjino yatpAdAbjapavitramaulirasamazrIrujjayanto'pyayam / dhatte mUrdhni nijaprabhuprasRmaroddAmaprabhAmaNDalai vizvakSoNibhRdAdhipatyapadavIM nIlAtapatrojjvalAm // 1 // prItiM pallavayantu vo yadupaterdevasya dehAto bhRGgAmA: shshikundsundrrdjyotishchttaalngktaaH| yaH(1 yAH) sammohaparAjayakapizunaprotkIrNavarNasphura tpUrvApaTTasanAbhayaH zuzubhire dharmopadezakSaNe // 2 // AnandAya prasavatu sadA kumbhikumbhopamAnaM 'nAmeyasya sphurita cikurottaMsamaMsadvayaM vH| zreyaH sampatkalazayugalaM zRGkhalAnaddhamuccai yanmanyante vipulamatayaH puNyalakSmI nidhAnam // 3 // yatkalpadrama-kAmadhenu-maNibhiryacchadbhiriSTa phalaM zreyaH kiJcidapArji tatpariNatiH zrIvastupAlaH kila / yat tvetasya gataspRhAnapi janAnicchAdhikaM dhinvataH puNyaM tatparipAkamAkalayituM sarvajJa evaM prabhuH // 4 // vardhiSNupuNyamayasantatiradbhutazrIH zrIvastupAlasacivaH sa cirAyurastu / ipatinA kRtatIrthayAtrAH khelanti yasya zizavo'pi gRhAGgaNeSu // 5 // ||shriinaagendrgcche vizrIjayasenasUriziSyazrIudayaprabhasUrINAm // cha /

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316 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha prazastilekhAGka - 3 pANiprabhApihitakalpatarupravAlacaulukyabhUpatisamAnalinImarAlaH / dikcakravAlavinivezita kIrttimAlaH so'yaM cirAyurudiyAdiha vastupAlaH // 1 // ekastvaM bhuvanopakAraka iti zrutvA satAM jalpitaM lajjAnamrazirAH sthirAtalamidaM yad vIkSase vedmi tat / vAgdevIvadanAravindatilaka ! zrIvastupAla ! dhruvaM pAtAlAd balimuddidhIrSurasakRnmArga bhavAn mArgati // 2 // na jAtu vizrAmyati tAvakInA dInArttinirvAsaka ! vastupAla ! | jihvA pareSAM guNamAdadAnA karadvayI ca draviNaM dadAnA || 3 || karNe'bhyarNamupAgate surapatervairocane rocaya tyuccairAtmarucA bhujaGgabhuvanaM prApte zivatvaM zibau / jAtaH kAlavazena yaH kila khilastyAgasya mArgaH punaH so'yaM samprati vastupAla ! bhavatA zreyaskRtA vAhyate // 4 // vastupAlaH kathaM nAma nA'yaM jImUtavAhanaH 1 / upakriyAmahInAM yaH karoti dviSatAmapi // 5 // ullAsitapallavakaH kalpataruH kalpate na saMvaditum / sumanaHsamRddhimadhikAM pAlayatA vastupAlena // 6 // karo'yaM 'kalpadrustava kamalavAsA ca dRgasau sudhAsUktiH saiSA zizira kara bimbaM sukhamidam / taditthaM pAthodhermathanahRtaratnasya bhavatA samudreNopamyaM bhavati sacivendo ! kimucitam 1 // 7 // prAyaH santi narAH parApakRtaye nityaM kRtopakramAH kastAna dustara duSkRtotra durAlokAn samAlokate ? | draSTavyastu sa vastupAlasacivaH SADguNyavAcaspati rvAMcA siJcati yaH sudhAmadhurayA durdaivadagvaM jagat // 8 // vairocane caritavatyamarezamaitrImekatra nAganagaraM ca gate dvitIye / dInAnanaM bhuvanamUrddhamadhazca pazyadAzvAsitaM punarudArakareNa yena // 9 // kutrApi nopasargo varNavikAro nipAtato vA'pi / sacivottamena racitA na vyAkaraNasthitiryena // 10 // te tiSThantyapare narendrakaraNavyApAriNaH pAraNAM ye nityaM pavanAzanA iva paraprANAnilaiH kurvate / stotavyaH punarazvarAjatanujo yaH sArasArasvatAdhAraH kAraNamantareNa kurute pathyaM pRthivyA api // 11 //

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1 puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekho : 317 bhavati vibhave puMsAM cakSustRtIyamiti zruti rna tu kumatayaste vIkSante sati tritaye dRzAm / ayamiha paraM mantrI netradvaye'pi karasthitA malakaphalakaprAyAM lokadvayImavalokate // 12 // vastupAla ! sadA haste satyapyamRtavarSiNi / vairivargaH 'sadAhaste yat tadetadihAdbhutam // 13 // AkarSannasidaNDameva na punaH pAdaM vimuJcanniSu zreNImeva na mAnitAM vinamayan dhanvaiva noccaiH ziraH / kampaM dantapidhAnameva na manaH saMkhye dadhAnazcama tkAraM kasya cakAra naiva sacivastomaikavAstoSpatiH 1 // 14 // prAsAdAstava vastupAla ! ta ime tanvanti cetaH satAM sAnandaM zazizekharAdrizikhara grAmAbhirAmazriyaH / yeSAM kAJcanakumbhasambhavamahaH sandoha santarpitAH santyuccaistuhinoccaye'pyupacayaM puSNanti pUSNaH karAH // 15 // paripIDitA samantAjaDasamayenAmunA girA devI / zrIvastupAlasacivaM nibiDaguNaM paTamivAzrayati // 16 // uddhRtya bAhumahameSa muhurvadAmi brUtAM sa madvacasi vipratipadyate yaH / yadyasti kazcidaparaH paramArthavedI zrIvastupAlasacivena samaH kSamAyAm // 17 // zrIvastupAla ! cirakAlamayaM jayantasiMhaH sutastava bhavatvadhikAdhika zrIH / yastAvakInadhanavRSTihRtAvaziSTaM ziSTeSu dausthyadavapAvakamucchinatti // 18 // yathA yathA'yaM tava vastupAla ! gotraM guNaiH sUnuralaGkaroti / tathA tathA matsariNAM narANAmavaimi citteSvanalaM karoti // 19 // purA pAdena daityArerbhuvanoparivartinA / adhunA vastupAlasya hastenAdhaHkRto baliH // 20 // madhyasthaM kathayanti kecidiha ye tvAM sAdhuvRttyA budhAH zrImantrIzvara ! vastupAla ! na mRSA teSAmapi vyAhRtam / karNo'bhUdupari kSiterbaridhastvaM cAtra madhye tayoH sthAtetyarthasamanvaye nanu vayaM madhyasthamAcakSmahe // 21 // kampAkulamavalokya prativIrANAM raNAGgaNe hRdayam / anukampA kulamayamapi sacivazcakre nijaM cetaH // 22 // narendrazrImudrA sapadi madirevApaharate hatAzA caitanyaM paricaritamAlinyamanasAm / dAhena sahitaH sadAhaH /

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318: zrI mahAvIra jaina vidyAlaya suvarNamahotsava thaN ihA'mAtye bhrAntyA'pyakalitakalaGke punarasau vivekAviSkAraM racayati paraM gIriva guroH // 23 // loke'sminnayameva mantritilakaH zreyAniti vyAhRtaM satyaM mAnaya mA'pamAnaya sakhe ! mAnyaM tdnyairjnaiH| etasmin sukRtAmaye'pi samaye saumyena yaH karmaNA dharma saMcinute karoti ca mahAjaino nijainovyayam // 24 // ke vA skhalanti na narendra niyogamudrAM hastasthitAM madhughaTImiva dhaaryntH1| tAM dIpikAmiva kare punareSa kRtvA sanmArgamaJcati nirastatamaHsamUhaH // 25 // kArpaNyAtizayena kazcana dhanaM yaH svaM nidhatte sa tad bhoktuM nAtra na vA'pyamutra labhate hastAdadhastAd gatam / yaH pAtrapratipAdanena saphalIbhUtAM vibhUti puna rbhuGkte'smin viditAgamo'nugamayatyanyatra janmanyapi // 26 // mayA mohaM nItAH kati na matimanto'pi kimahaM nikRSTai zliSTA vipaNiSu paNastrIgaNanayA ? / viSAdaM kRtvA zrIriti kila gatA tIrthamiva taM tataH sanmArgeNa prati divasamenAM nayati yH|| 27 // guNaiH pareSAM gaNazo gRhItairguNIti yuktA kila kIrtirasya / apyarthisArthapratipAditazrIH, zrImAniti khyAtiridaM tu citram / / 28 / / AlokanAdapi vinAzitasajanArtiH, zrIvastupAlasacivaH sa cirAyurastu / yatkIrtayastridivasindhupayaHsapakSAH prakSAlayanti kalinA malinAM dharitrIm / / 29 // kecit kavIndramapare puruSapradhAnaM, jAnanti saMyati suduHsahamanyumanye / manye'hamenamiha karNamivAvatIrNa, zrIvastupAlavapuSA viduSAM tapobhiH // 30 // netrotsavaM suvati tApamapAkaroti, datte sadA sumanasAmamRtaiH prmodm| sallakSaNapraNayinI ca bibharti mUrti, kiM rohiNIpatiraho! nanu vstupaal:1||31|| lokAnAM vadanAni dInavadanaH kasmAt samAlokase, bhrAtaH! samprati ko'pi kutracidapi trAtA na jAtApadAm / astyekaH paramatra mantritilakaH zrIvastupAlaH satAM / devAdApatitaM chinatti sukRtI yaH kaNThapAzaM haThAt / / 32 // mattAridvipasiMhasiMhanacamUcakreNa vikrAmato yasyAsisphuritAni tAni dadRzuH ke vA na revAtaTe 1 / tasyApi prasabhaM babhaJja bhujayoH saMrambhamambhonidhi prAnte saiSa saroSadRSTighaTanAmAtreNa mantrIzvaraH // 33 // vikrAmadvairicakraprahitazitazarAsAraduravIra vyApAre yasya nA''sIdatiparuSaruSaH saGgare bhnggrekhaa|

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazaritalekho : 319 tena zrIvastupAlAda vilasadasilatAbhImavRttAdamAtyA datyAkArAvatAraH prathamamadhigataH sindhurAjAtmajena // 34 // yenArinAgadamanIM dadhatAsilatAmamoghamantreNa / uttAritaroSaviSaprasaraH samare kRtaH shngkhH|| 35 / / amAtyataraNe! zRNu kSaNamidaM madIyaM vacaH, svacakra-paracakrayorapi puraH pramodAt sadA / tavopakRtimarthinaH prakRtimapramattendriyAH, kRtiM ca kRtipuGgavA yuvatayaH stuvantyAkRtim // 36 // sA kAlidAsasya kavitvalakSmIH, sphuTaM praviSTA tvayi vstupaal!| AsAditA'smAbhiravekSamANaH, sAkSAdiyaM tatpadapaddhatiryata // 37 / / dharaNe! dharaH sthito'sau nAgaH zeSaH karoti dhRtimatulAm / punnAgaH punarupari sthito'zvarAjAtmajaH satatam / / 38 // zrIvastupAlaH sa cirAyurastu yanmantrasaMtrastasamastazatroH / caulukyabharnustadasezca tiSThatyalabdhasiddhiH paramAraNecchA // 39 // tisraH spRzannapi tithIriva jagatIreSa te yshovaarH| zrIvastupAla ! kalayati nAvamatAM me tadAzcaryam // 40 // kalpAyurbhavatu dviSo'bhibhavatu zrIvastupAlaH kSitau durdaivAnaladagdhasAdhujanatA nirvApaNaikApaNaH / ambhodheH savidhe vidherapi manasyAtanyatA vismayaM yena krodhakarAlabhAlabhrakuTirbhagnA bhaTAnAM ghaTA // 41 // manye dhuri sthitamimaM sacivaM zucInAM madhyasthameva munayaH punarAmananti / mAtaH! sarasvati! vivAdapadaM tadetanniIyatAM saha mahadbhirupAgataM me // 42 // Alokate'sya na khalo'pi kimapyavadyaM vidyAbhibhUtapuruhatapurohitasya / yasyAyamAhatabhujArgalayA vyadhAyi zrIvIravezmani kaliH skhlitprveshH||43|| viracayati vastupAlathulukyasaciveSu kaviSu ca pravaraH / na kadAcidarthaharaNaM zrIkaraNe kAnyakaraNe vA // 44 / / pracAraM caurANAM pracuraturagazrIH prazamayannameyaM pAtheyaM pathi pathikasArthAya vitaran / digantAdAhUtairvihitabahumAnaiH priyajanaiH samaM mantrIyAtrAmayamakRtazatruJjayagirau // 45 // yo mAnye mAnamuccaiH suhRdi suhRdayaH snehamape prasAda bhIte rakSAM daridre draviNavitaraNaM yAnahIne ca yAnam / mArge durge'pi kurvannapara iva surakSmAruhaH kSamApamantrI yAtrAM kRtvojayante vijitakalimalaH prApa saGghaprabhutvam / / 46 //

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ka20 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thaW anujanmanA sametastejaHpAlena vastupAlo'yam / madayati kasya na hRdayaM madhumAso mAdhaveneva // 47 / / sa zrItejaHpAlaH sacivazcirakAlamastu tejsvii| yena janA nizcintAzcintAmaNineva nandanti // 48 // lavaNaprasAdaputrazrIkaraNe lavaNasiMhajanako'sau / mantritvamatra kurutAM kalpazataM kalpatarukalpaH // 49 // zrIvastupAlatejaHpAlau jagatIjanasya cakSuSyau / puruSottamAkSigatayoH syAtAM sadRzau na ravi-zazinoH // 50 // tattvaprakAzakatvena tayoH svacchasvabhAvayoH / parasparopameyatvamAsIllocanayoriva // 51 // panthAnameko na kadApi gacchediti smRtiproktamiva smarantau / sahodarau durddharamohacaure sambhUya dharmA'dhvani tau pravRttau // 52 // tena bhrAtRyugena yA pratipura-grAmA'dhva-zailasthalaM vApI-kUpa-nipAna-kAnana-saraH-prAsAda-satrAdikA / dharmasthAnaparamparA navatarA cakre'tha jIrNoddhatA tatsaMkhyA'pi na budhyate yadi paraM tadve dinI medinI // 53 // yAvad divIndunA'rko vAsukinA vasumatItale zeSaH / iha sahacaritastAvat tejaHpAlena vastupAlo'stu // 54 // // ete gUrjarezvarapurohita Tha0 somezvaradevasya / / cha / prazastilekhAGka-4 bhUyAMsa: padavAkyasaGgatiguNAlaGkArasaMvargaNa prakSINapratibhAH sabhAsu kavayaH krIDantu kiM taadRshaiH| drAkSApAnakacarvaNapraNayibhirgumphairgirAmudgiran / niHsIma rasameka eva jayati zrIvastupAla: kaviH // 1 // guNagaNamavalambya yasya kIrtiH prathayati nartanacAturI vicitrAm / parikalitavizAlavaMzakoTiH paTutaradikkarikoTikarNatAlaiH // 2 // jagadupakRtivyApAraikapravINamateritaH, kathamidamabhUdevaM vizvApakAraparaM yshH| dvijaparivRDhamlAniM dhatte tuSAragireH kalAM, dalayati surasrotasvinyAstanoti parAbhavam // 3 // yadIyaprAdhAnyAdanupadamavApyodayadazAM, prazAsti kSamApIThaM jaladhivalayaM vIradhavalaH / apAste yanmantrairapi ca ripucakre raNakalAvilAsAnevoccaiH kalayati manorAjyaviSayAn // 4 // parIhAsaprauDhAH zivazikharibhAsAM vidadhato marAlI mAlinyaM muSitamahimAno himgireH| triyAmAjIvAtoH kavalitakalaGkAH pratidizaM dizanti prAgalbhI ydsmyshHpuurvisraaH||5||

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekhaH 321 yasya stambhapure parAkramacamatkAreNa pAre girAmudrIvo'pi namannamandasamazahaGkArakAraskarAt / saGgrAmApasRtapradhAvitahayaprasvedabindUtkarairanAkSIdayazaHprazastimasitaiH saGkAmasiMhaH pathi // 6 // kSIraM kSAramamodinI kumudinI rAkA varAkI hatA zrIhInAstuhinAvanIdharabhuvo mandaiva mndaakinii| niHsArANi saroruhANi na ca te haMsAH prazaMsAspadaM yatkIrtiprasare surebhadazanacchAye dizazcumbati // 7 // yasyAndhaGkaraNe'pi bhUyasi dhane niHzeSazAstrAgama jJAnajyotirapAstamohatamaso nA'bhUnmadaprazrayaH / nonmIlanti ca dharmavarmitatanoruddAmakAmabhrama caappreritmaargnnvytikrvyaapivythaaviicyH||8|| vaprAbhaH kanakAcalaH sa parikhAmAtra nidhiH pAthasAM dvIpAnyaGgaNavedikA parisaro vindhyATavIniSkuTaH / yasyA'cumbitacitrabuddhivilasaccANakyasAkSAtkRte rudyoge karagartanartitajagatyavyAjamunmIlati // 9 // tIrthayAtrAmiSAda yena tanvatA digjayotsavam / parAbhavo vipakSasya balino'pi kaleH kRtaH // 10 // digdhairdugdhamahodadhau himagirI smeraiH zive sAdaraiH sAsphoTaiH sphaTikAcale samudayattoSaistuSAra sviSi / reje yasya vikasvarA'mbujavanastomeSu romAJcitairunmIlanmadarAjahaMsaramaNIramyairyazorAzibhiH // 11 // yahAnaM yadasImazauryavibhavaM yadvaibhavaM yadyazo yavRttaM bhaNadoSThakaNThamabhajat kuNThatvametasya yat / . AjanmAskhalitairvacobhirabhajad bhaGgaprasaGgaiH kathaM sAmyaM yAtu vasantapAlakRtinA tasmAda girAmIzvaraH // 12 // te nIhAravihAriNaH, kavacitAste candanaiH syandibhiH. te pIyUSamayUSamanavapuSaH, te padmasammAzritAH / mAkandAGkaramaJjarI nigaDitAH krIDanti te santataM, siktAH sUktisudhArasena sukaveH zrIvastupAlasya ye / / 13 // yasya saahitypaathodhipdviipaardRshvnH|| zrayanti vAgvahitrANi vicitrANi kavIzvarAH // 14 // AmodaM sumanaHsu saMvidadhatI puMskokilapreyasI nAdazrIsuhRdAM muhuH kavigirAmunmudrayantI pathaH / mAkandAGkaramaJjarImiva guNazreNiM samAtanvatI seyaM hanta ! vasantapAla ! bhavataH kIrtirvasantAyate // 15 // suru graha 21

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322 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thaW AjanmA'pi zaye kRtAya sukRtastomAya yatnAnmayA yadyAsAdyata ko'pi dUSaNakaNaH zrIvastupAla! tvayi / yatkalpadrumapallavadyutimavaSTabhyaiva kalpadrumaM pANirdhik kurute tavaiSa manute ko'muM na doSAzritam // 16 // // ete kavisArvabhaumazrIhariharasya // cha / prazastilekhAGka-5 mukhamudrayA sahAnye dadhati kare sacivamantriNo mudrAm / zrIvastupAla ! bhavato vadAnya ! tad dvitayamunmudram // 1 // kIrtiH kandalitendukAntivibhavA, dhatte pratApaH punaH prauDhiM kAmapi tigmarazmimahasAM, buddhirbudhArAdhanI / pratyujIvayatIha dAnamasamaM karNAdibhUmIbhujaH, tat kiJcinna tavAsti yanna jagataH zrIvastupAla ! priyam // 2 // gItaM na svadate, dhinoti na vidhuH, prINAti vINA na sA, kAmyaH so'pi na kokilAkalavaraH(1 ravaH), zranyo na haMsasvanaH / vAgdevIpadapamanU pura! yadi zrImaladevAnuja! zrUyante sacivAvataMsa ! bhavatA saMkIrtitAH sUktayaH // 3 // tiSThanto'pi sudUratastribhuvanavyAptipragalbhAtmanA tena tvadyazasA vayaM sumanaso nirvAsitAH smnH| tairetairiha tadvirodhirabhasAda baddhA sthitiste hRdi kSantavyaM kavibAndhavena tadidaM zrIvastupAla! tvayA // 4 // // ete mahAmAtyazrIvastupAlaparamamitramantrizrIyazovIrasya ||ch|| prazastilekhAGka-6 svasti zrIvastupAlAya zAlante yasya kIrtayaH / vyomni yanmAti gaurAGgIdhammila iva mllikaaH||1|| zrIrAmaH sukRtasuto vasantapAlaH kiM vAcyaH zucicaritAni yadyazAMsi / Adhatte visavizadopavItatantuvyAjenorasi rasikaH svayaM svayambhUH // 2 // tattAdRgnavadharmakarmaracanAsaMvarmitAnAM muhu__ mahAtmyaM kila vastupAlayazasAM kaH prastutaM na stute / vandyo'pi dyusadA sadA kalayati zvetAMzu-sAdhipasvaHsrotAMsi jaTAtaTe yadupamApUtAni bhUtAdhipaH // 3 //

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazasti lekho : 323 IdRkkiJcanadAnavikramadharoddhAraitrirAdaya'te __ zuddhaM sAdhu ca vastupAlasaciveneveti devo hriH| zrIkAnto'pi jitAsuro'pi agatAM dhuryo'pyayaM varNikA tvatkIrteriva darzayatyabhisama hastAttakambucchalAt // 4 // zrImantrIza! vasantavat tava yazo lakSmIsakhISu svayaM gAyantISu jaganniverudarabhUH pAtAlapAtA smitaH / zrotuM nAbhipathe bibharti nibhRtaM devaH sahasrasphaTa __zaGke zuksahasrapatramiSato mUrnA tamakSizravAH // 5 // svatkIrticchannamUorgiriza-girijayoryogabhAjoH karAgra sparza bhUyoviyogavyasanacakitayorarddhanArIzabhAvaH / jajJe zrIvastupAla ! dhruvamayamanayostvatpratApAnikIlA. lIlAbhistArakArtasvaravaravapuSoH sandhibandhAbhirAmaH // 6 // surastrINAM vaktraiH zucibhirabhibhUto'pi mahasA___ mahaGkArAdvaitaM yadakRta kalaGkI himkrH| mudA tejaHpAlAgraja ! tadapi mASTuM smayamaya ramIbhirgAyadbhirdizi vidizi tene tava yazaH // 7 // yadi viditacaritrairasti sAmyastutiste kRtayugakRtibhistairastu tada vstupaal!| catura ! caturudanvadvandhurAyAM dharAyAM tvamiva punaridAnI kovidaH ko vidagdhaH? // 8 // mayyevaM jAgarUke zaraNamupagato matprabhuprauDhakIrti__ spardhAbaddhAparAdhastribhuvanavibhunA hu~ kimetena paalyH| ityAkramyAtitIvra prathamamamumumAkAntamarciSmadakSi cchamA saMzoSya dInaM zazinamanamayad vastupAlapratApaH // 9 // pAtAle tvadarAtibhUpativadhUnetrAmbupUraH patan pAthonAthapathaiH kadarthayatu mA pIyUSakuNDAni naH / ityabdheramumuddharanti vibudhAH zyAmena somAyane kumbheneva sakajalaM jalamidaM tallakSmalakSyAdiha // 10 // asmatprabhuprabhavatIvratarapratApaspoddhataH kathamanena dhRto'yamaurvaH / / yAtrotsave tava vasanta ! mahIrajobhiritthaM krudheva pidadhurjalarAzimazvAH // 11 // zrImantrIzavataMsa ! nUtanabhavatkIrtiprabandhAvalI nityanyAlikhanena tAlataruSu cchinnacchadazreNiSu / kaH syAdasya nisargadurgatakavistrImaNDalasya zrute rAkalpaH kSitikalpavRkSa ! na yadi svarNAni dadyAH sadA // 12 // // ete Tha0 lUNasIha suta Thakara arAsiMhasya // cha /

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324 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava anya __ prazastilekhAGka-7 amndpdnisyndpdprempcelimaaH| vAcaH zrIvastupAlasya vandyA vAcaspaterapi // 1 // siddhe siddhanRpe, zanairavasite rAjyapratApo dRDho (? pe dRDhe) jAtA gUrjaranirjarendramahiSI gopopabhUmyaiva bhuuH| kAruNyAdupakAriNo bhagavatastadvastupAlacchalAt sargo'yaM sukRtaiH satAM pariNataH zrI-vAGmayo vedhasaH / / 2 / / lakSmI nandayatA, ratiM kalayatA, vizvaM vazIkurvatA, akSaM toSayatA, munIn mudayatA, citte satAM jAgratA / saMkhye'saGkhyazarAvalI vikiratA, rUpazriyaM muSNatA, naikadhyaM makaradhvajasya vihito yeneha darpavyayaH // 3 // zeSAhiH saha zaGkareNa, zazinA rAkA, saro mAnasaM haMsaiH, kairaviNIkulAni zaradA, gaGgA tuSArAdriNA / sambhUyApi na yasya vizrutaguNagrAmasya jetuM kSamAH snAnottIrNasurendradantiradanacchAyAvadAtaM yazaH // 4 // . kastUrikApaGkakalaGkitAni vaktrAmbujAni dviSadaGganAnAm / prakSAlayAmAsa cirAya cAru yatkhaDgadhArAmalinapravAhaH // 5 // naivAnyaH sparddhamAno'pi vavRdhe yasya kIrtibhiH / Rte viyukta vairistrIgaNDamaNDalapANDutAm // 6 // asAvAdyaH sargaH zibi-bali-dadhIciprabhRtayo vidhAtuksena vyavasitavato daatRvidhye| kalau saMkSiptaitatprakRtiparamANUccayamayaH samAsenedAnI sphuTamayamamAtyaikatilakaH // 7 // saubhrAnaM pitRbhaktiratra nibiDA maitrIti rAmAyaNI yenAzrAvi nRzaMsabhArgavabhujopAkhyAnavaje kathA / kizcAnyat tapasaH suto narapatInAkramya yatreSTavAn / parvA''sIdadhikaM tadeva rataye yasyAnizaM bhAratam // 8 // muJja-bhojamukhAmbhojaviyogavidhuraM mnH| zrIvastupAlavaktrendau vinodayati bhAratI // 9 // deve svargiNyudayanasute vartamAnaprabhUNAM dUrAdarthI viramati bata! dvArato vAritaH san / diSTyai tasminnapi kusamaye jAtamAlambanena svacche vAJchA phalati mahatAM vastupAle vizAlA // 10 //

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekho H 325 utkarSo'yamathApakarSaviSayaH sadbhayo na zaGkAmahe ye cA'rocakinaH sadA kRtadhiyastebhyastu bddho'nyjliH| etasyAnuguNopamAnarasikA dAne dame pauruSe ke kurmo matiranyameti na samutkampA'pi campAdhipe // 11 // anye vAci pare kriyAsu sacivAH santyeva rAjAGgaNe zaGke yairanuzIlitaM gurukulaM mA sAhasAH pakSiNaH / AzArAjasutastu sa stutipadaM zrIvastupAlaH satA mekaH karmaNi vAci cetasi samujAgarti yaH kAryiSu / / 12 // pAlane rAjalakSmINAM lAlane ca manISiNAm / astu zrIvastupAlasya nirAlasyaratirmatiH // 13 // etAni paNDitaAmabhrAtRpaNDitadodarasya / / cha / prazastilekhAGka-8 svasti zrIbhUmisImAvipinaparisarAt kSIranIrAbdhinAtha[:] pRthvyAM zrIvastupAlaM kSitidhavasacivaM bodhayatyAdareNa / asyAmAsmAkaputryAM kupuruSajanitaH ko'pi cApalyadoSo niHzeSaH saiSa lokampR[Na]guNa ! bhavatA mUlato mArjanIyaH // 1 // -paM0 jagasIhasya // prazastilekhAGka-9 klikvlnjaagrtpaannikheltprtaapdyutilhrinipiitprtyniikprtaapH| jayati samaratattvArambhanirdambhakelipramuditajayalakSmIkAmuko vastupAlaH // 1 // tvaM jAnIhi mayA'sti cetasi dhRtaH sarvopakArabatI, kinAmA ? savitA, na, zItakiraNo. na. svargivRkSo. na hi / parjanyo, na hi, candano, na hi, nanu zrIvastupAlaH, tvayA jJAtaM samprati, zailaputri-zivayorityuktayaH pAtu vaH // 2 // sArasvatA'mbhonidhipArvaNenduH zrIvastupAla: scivaadhiraajH| ciraM jayatveSa sahA'nujanmA saputrapautraH saparicchadazca // 3 // bhRgukacchIya dhruva Tha0 vIkalasuta Tha0 vairasiMhasyaite // cha / zubhaM bhavatu zrIsaGghasya iti / / cha / / bhadram // cha /

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321 zrI mahAvIra jaina vidyAlaya suvarNa mahotsava carthI prazastilekhAGka-10 pUrve dIpasparddhipAre'ndhakAre yaM pazyanti jyotirantarmunIndrAH / vizvAsamAM levAmAM take jUdAna yA : rAzA | nendoH kalA na girijA na kapAlazuktioMkSA na bhasma na jaTA na bhujaGgahAraH / yAtrAsti nAnyadapi kiJcidupAsmahe tadrapaM purANamunizIlitamIzvarasya // 2 // ekastridhA hRdi sadA vasati sma citraM yo vidviSAM ca viduSAM ca mRgIdRzAM ca / tApaM ca sammadabharaM ca ratiM ca siJcan sU( ? zau)oSmaNA ca vinayena ca lIlayA ca // 3 // vicchAyatAM jhagiti niHzvasitena ninyuryasyArivArijadRzastrayamAyatena / bharturyazazca vadanaM ca kalaGkazUnyazItAMzubimbasadRzaM maNidarpaNaM ca // 4 // zIleti zIlarucirAbharaNA kalatraM yasyAbhavajjalanidheriva jalakanyA / vyomendranIlamukurAntaru(? ra)rundhatIyaM yasyA janena kRtinA pratimeti mene // 5 // iti mAndhAtRnagaramaDezvaraprazastikAvyAni // cha / zubhaM bhavatu zrIsaGghasya iti bhadram ||ch|| upara jaNAvelA daza prazastilekhono saMkSipta paricaya A pramANe che : prazastilekhAMka 1? A prazastinA kartA AcAryazrI narendraprabhasUri che. ahIM vastupAlane vIra, vivekI, janarakSaka, virodhi-avirodhi janone dAna ApanAra, sarvatomukhIkIrtivALo ane bhAgyavAnuM jaNAvyo che. uparAMta ahIM e paNa jaNAvyuM che ke tenA vidvAnonI patnIo maNimotIonAM AbhUSaNo paheratI ane tenA sevako paNa dAnazIla hatA. prazastilekhaka 2H A prazastinA kartA vastupAlanA gurunAgendragathvIya vijayasenasUrinA ziSya AcAryazrI udayaprabhasUri che. ahIM giranAra, zrIneminAtha ane zrI AdIzvara bhagavAna prati bhaktibhAva vyakta karIne vastupAlanI dAnazIlatA ane dhArmikatA jaNAvI tene dIrdhAyu thavAnI AzISa ApI che. prazastilekhAMka 3: A prazasti gUrjarezvarapurohita somezvaradeve racelI che. AnAM keTalAMka padyo somezvaradevaracita kIrtikaumudI tathA lUNavasahI(AbU)nI prazastimAM maLe che. vastupAlanA dIrdhAyunI AziSa ApavA uparAMta pAMDitya, dAnazIlatA, a5kAraka upara upakArIpaNuM, Abha-parabhavanI sthitinuM ciMtana, yuddhamAM hatAza zatruo pratye anukaMpA, vivekIpaNuM, dhArmikatA, adhikArano sadupayoga sadAcArIpaNuM yuddhajaya vagere vastupALane lagatI hakIkatonuM hRdayaMgama varNana A prazastimAM che. uparAMta, tejapAla ane jayaMtasiMhanI dAnazIlatA tathA vastupAlanA pratyeka kAryamAM tejapAlanA sAhacaryano ullekha paNa A prazaritamAM che. prazastilekhAMka 4: AnA racayitA kavi sArvabhauma harihara paMDita che. A prazastimAM vastupAlanI danazIlatA ane yazasvitAne suMdara rIte varNavIne tenI kIrtinI vyApakatA jaNAvI che. vastupAle saMgrAmasiMhane parAjita karyAno ullekha paNa ahIM che. vastupAle karelA zaMkhanR5 parAbhavanA prasaMgane varNavatuM zaMkhaparAbhava nATaka A harihara paMDite racyuM che.

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puNyazloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazastilekho : 327 prazastilekhAMka 5 : mAtra cAra kAvyAtmaka A prazastinA racayitA mahAmAtya vastupAlanA paramamitra yazovIra maMtrI che. AmAM vastupAlano guNavAna mitro pratyeno AMtarabhaktiyukta sneha ane vastupAlamAM evI koI vastu nathI je jagatamAM koIne paNa apriya hoya, A che hakIkato mukhyatayA jaNAvI che. uparAMta vastupAlanI saktio (subhASito) zreSThatama hatI teno paNa nirdeza ahIM jANI zakAya che. prazastilekhAMka 6 : A prazasti 40 lUNasiMhanA putra Thekara arasiMha-kapUra arisiMhe racelI che. ahIM vastupAlanI saccaritratA, dharmabhAvanA ane dAnazIlatA varNavIne tenI kIrtinI vyApakatA tathA vIratA jaNAvI che. prazastilekhAMka 7 : Ama nAmanA paMDitanA bhAI dodara nAmanA paMDite A prazasti racI che. ahIM vastupAlamAM lakSmI-sarasvatInuM ekaya batAvyuM che. uparAMta tenI sUktio, sarvatomukhI kAryadakSatA, vIratA, dAnazIlatA ane vidvattAno ahIM nirdeza karyo che tema ja tenA yazane sarvadejhyApI jaNAvyo che. prazastilekhAMka 8 : mAtra eka ja padyamaya A prazasti jagasiMha paMDite racI che. ahIM vastupAlane AlaMkArika rIte satpuruSa jaNAvelo che. prazastilekhAMka 9: A prazastinA karyAM bhRgukaccha(bharUca)nivAsI dhruva aTakavALA Thakkura vIkalanA putra Thakkura vairisiMha che. ahIM vastupAlane mahAna yoddho, zreSTha paropakArI ane vidvAna jaNAvela che. prazastilekhAMka 10 : A prazastimAM enA racanAranuM nAma ApyuM nathI. aMtanI puSpikA uparathI jANI zakAya che ke mAMdhAtRnagaramAM AvelA maDezvara nAmanA zivAlayanA zilAlekhanI A prazasti che. AnAM pahelAM e padyo zaMkaranI pUjA-bhaktirUpe che ane bAkInAM traNa padyo vastupAlanI prazastirUpe che. AmAM vastupAlanuM nAma nathI tema ja aMtima pAMcamA padyamAM prazastinA mukhya nAyakane zIlA nAmanI patnI jaNAvI che tethI A prati vastupAlanI haze ke kema, tevI zaMkA thAya te svAbhAvika che. saMbhava che ke zilAlekha uparathI paraMparAe utArA thatAM mULa prazastino keTalo'ka bhAga lekhakonA doSe bhulAI javAthI lupta thayo hoya. bAkI je pothImAM vastupAlanI prazastiono ja saMgraha che temAM AvatI A prazasti vastupAlanI ja hovI joIe ema mAnI zakAya. uparAMta, vastupAle zivAlayonA punaruddhAro tema ja zivanAM pUjA-darzana karyAMnA ullekho to tenA samayanI ja kRtiomAM maLe che tethI prastuta prazasti vastupAlanI na hoya tema mAnavAne koI kAraNa nathI. A pratipAdana jo sAcuM hoya to vastupAlanI patnI sokhunA nAmane susaMskRta karI kadAca zIlA tarIke ahIM nirdiSTa karyuM hoya tevuM anumAna thaI zake. A prazastionA kartAo paikI AcAryazrI narendraprabhasUri, AcAryazrI udayaprabhasUri, gUrjarezvarapurohita zrIsomezvaradeva, kavisArvabhauma harihara paMDita, maMtrI yazovIra ane Thakura arisiMhanA saMbaMdhamAM DaoN. bhogIlAla sAMDesarAe potAnA " mahAmAtya vastupAlanuM sAhitya maMDaLa ane saMskRtasAhityamAM teno phALo" nAmanA pustakamAM savistara lakhyuM che. sAtamA prazastilekhanA kartA kroTThara paMDita, AThamA prazastilekhanA karyAM jagasiMha ane navamA prazastilekhanA kartA hapura vairisiMha A traNa vidvAnonAM nAma prAyaH anyatra anupalabhya che. AthI vastupAlanA vittUlamAM A traNa nAma umerAya che.

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328 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava caLyA ahIM jaNAvelA daza prazastilekhonA saMgrahanI hastalikhita prati amone zrIlAvaNyavijayajI jena jJAnabhaMDAra(rAdhanapura)mAMthI maLI che. prastuta prati vikamanA paMdaramA zatakanA aMtabhAgamAM lakhAyelI che. - prastuta daza prazasti lekho paikI pahelA prazastilekha sivAyanA nava lekho adyAvadhi aprasiddha che. pahelA prazastilekhanuM mudraNa siMghI jaina graMthamAlAmAM graMthAMka 5 tarIke 'mahAmAtya-vastupAla-kItikIrtanasvarUpa sukRtakItikallolinyAdi vastupAlaprazastisaMgraha" nAme prasiddha thayelA graMthamAM thayeluM che. chatAM ahIM ApelA A pahelA prazastilekhamAM vastupAle giranAra upara karAvelA zatruMjayAvatAra tIrthanI DAbI bAjunI bhIMta uparanA zilAlekhanI nakalarUpa prastuta pahelo prazastilekha che te hakIkata vizeSa hovAthI jijJAsuone ane saMzodhakone upayogI samajIne ahIM Apyo che. vastupAlane lagatA anyAnya sAhityanI tathA A prazastionI gaMbhIrapAMDityapUrNa racanA jotAM vastupAla uccakoTino kAvyaparIkSaka hato te hakIkata spaSTa thAya che. dazamo prazastilekha, pahelAM jaNAvyuM tema, zivAlayanA zilAlekhanI uttarottara thatI AvelI nakalarUpe che. eTale pahelA ane dezamAM prazasti lekha sivAyanA ATha prazastilekho vastupAlanI paricAyaka stuti-prazasti rUpe che. alabatta, A prazastio vastupAlanA koI paNa zilAlekhanA gadyabhAga sAthe mUkavA mATe barAbara saMgata thAya tevI che. Ama chatAM AThamo prazastilekha mAtra eka padyarUpe che tethI A prazasti to kevaLa stutiprazaMsArUpe ja gaNAya. A uparathI anumAna thAya che ke, jema prAcInakALamAM mahArAjA bhoja Adi vidyApriya ane dAnazIla rAjAo samakSa kuzaLa kavio potAnI uttamottama kRtio raju karIne suyogya parIkSaka pAsethI puraskAra laIne garva anubhavatA tema vastupAla samakSa paNa aneka vidvAno AvatA haze ja ane te temanI kRtionI pUrepUrI mahattA samajIne samucita puraskArathI temane sanmAnatA haze emAM jarA ya zaMkA nathI. saMbhava che ke AThamo prazastilekha AvA ja koI prasaMgano hoya. prAraMbhamAM ApelA bIjA zilAlekhamAM vastupAla mATe vaparAyeluM vizeSaNa sArA prativanA tya(sarasvatIno dattaka putra) paNa vastupAlamAM uttama pAMDitya ane pAMDityaparIkSaNa hatuM te vastunuM sUcaka che. vastupAlanuM A vizeSaNa jarAya atizayokti ke vicArutArUpe nathI paNa e eka hakIkatanuM sUcaka che kAraNake, vastupAle pote racelA naranArAyaNananda mahAkAvya ane raivatakAThimaMDananeministavanA aMtamAM potAne vAvI dharmasUnuM ane sAravAdharmanuM eTale ke sarasvatInA dharmaputra rUpe jaNAve che. TUMkamAM, vastupAlano paricaya ApanAra labhya sarvasAdhanomAM tenuM pAMDitya Dagale ne pagale AlekhAyeluM hovAthI vidvAnone enA pratye ananya AkarSaNa hatuM te nirvivAda hakIkata che. sAthe sAthe ahIM e paNa samajI levuM joIe ke, vastupAlanA saMbaMdhamAM upalabdha thatI nAnImoTI racanAonI e vizeSatA che ke tenA racanArA uccakoTinA viziSTa vidvAno hatA. AvA vidvAno vidyA pratyenA samucita AMtarika Adara sivAya kevaLa dhanakuberanA dhanathI AkarSAya tevA yAcakavRttivALA hoI zake ja nahi, ane hoya to temanI racanAo AvI prAsAdika banI zake nahi. A uparathI vastupALamAM vidyA pratye tema ja vidvAno pratye bahumAnayukta bhakita hatI te hakIkata spaSTa thAya che. Aje pracura mAtrAmAM upalabdha thatI puNyazloka mahAmAtya vastupAlasaMbaMdhita samagra sAmagrIne jotAM te vIragAthA, dAnagAthA, dharmagAthA ane vidyAgAthAne sAco adhikArI hato ema spaSTa jaNAya che, A hakIkatane TUMkamAM paricaya A pramANe che :

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puNyaloka mahAmAtya vastupAlanA aprasiddha zilAlekho tathA prazaritalekho : 3ra9 anyAne yuddhamAM saphaLa yoddhA tarIkenI kAmagIrI, zaMkhanRpa Adi rAjAono parAjaya karavo tema ja buddhi-zaktithI rAjyavahIvaTanuM saMcAlanaH A vastune vastu pAlanI vIragAthA kahI zakAya. dIna-hIna-duHkhI janone anukaMpAdAna ApavuM, sArvajanika upayoga thAya--lAbha levAya tevAM sthAno dAtava, kUvA, vAvo, taLAvo, parabo satrAgAro-sadAvrato vagere baMdhAvavAM ane vidyAnA bahumAnarUpe vidvAnone puraskArarUpe bhaktibhAvapUrvaka dAna ApavuM-A vastune vastupAlana dAnadharma kahI zakAya. - AbUdelavADAnAM vizvavikhyAta maMdironuM nirmANa; zatrujya upara IndramaMDapa, naMdIzvarAvatAra, taMbhana tIrthAvatAra, zakunikAvihArAvatAra, satyapuratIrvAvatAra. ujajayaMtAvatAra, avalokana-saba-pradyumna. aMbAnAmagiranArazikharacatuSkAvatAranAM pratIkarUpe te te tIrthAdinuM nirmANagiranAra upara aSTApadAvatAra, sametazikharAvatAra, zatruMjayAvatAra, staMbhanakatIrthAvatAranA pratIkarUpe te te tIrthanuM nirmANa; dhoLakA vagere sthaLomAM navIna jinamaMdiranuM nirmANa; zrIpaMcAsara pArzvajinamaMdira (pa'TaNa), zrI pArzvajinamaMdira tathA zrIyugAdijinamaMdira (khaMbhAta); vyAdhrapallI-vAlanuM jinamaMdira, zrI AdIzvarajinamaMdira tathA aMbikA maMdira (AsahadatIrtha: valabhI(vaLA) zrIyugAdijinamaMdira Adi aneka jinamaMdirono jIrNoddhAra; aneka jinamaMdiromAM vividha jinabiMbonuM pratiSThAna, dhoLakA, khaMbhAta vagere sthaLomAM navA upAzrayonuM nirmANa; bharUca vagere sthaLonA maMdiromAM suvarNadaMDAdi caDAvavA; zatruMjaya, ujajayaMtAdi aneka tIrthonI anekaza: yAtrAo karavI, sAta graMthabhaMDAro lakhAvavA-A badhI hakIkatone vastupAlanI dharmagAthA kahI zakAya. mALavAno subhaTavarmA nAmano rAjA DabhoInA vaidyanAthanA zivAlayanA suvarNakalazo laI gayo hato tenA sthAnamAM vastupAle navA suvarNakalazo sthApyA hatA; khaMbhAtamAM bhImanAthanA zivAlayamAM suvarNadaMDa ane suvarNakalaza caDhAvyA; bhaTTAditya-sUryanI pratimAne suvarNamukuTa karAvyo ane te ja bhaTTAdityanI pUjA mATe vahakanAmanA vanamAM kUvo karAvyo; svayaMbhU haidyanAthanuM akhaMDamaMDapavALuM zivAlaya baMdhAvyuM, bakulAditya-sUryanA maMdiramAM UMco maMDapa karAvyo; dhoLakAmAM rANubhaTArakanA maMdirano jIrNoddhAra karAvyo; prabhAsamAM somanAthanI bhaktipUrvaka pUjA karI;8 nagarA gAmamAM saMvata 903nI sAlamAM ativarSAne lIdhe paDI gayelA sUryamaMdiramAM sUryapatnI ratnAdevInI mUrti tUTI gaI hatI tethI tenA sthAne potAnI patnI lalitAdevInA puNya-saubhAgyanimitte saMvata 1292mAM ratnAdevInI navI mUrti banAvI, je saMbaMdhI zilAlekha Aje paNa surakSita che, tema ja vastupAla taraphathI roja pAMcaso brAhmaNo vedapATha karatA tevI hakIkata prabaMdhomAM maLe che-A badhI hakIkato uparathI vastupAlamAM parasaMpradAyo pratye te te saMpradAyanI paraMparAne anurUpa nicchanna Adara hato te spaSTa thAya che. rAjya ke dezanA mukhya rAjapuruSoe kema vartavuM joIe, te mATe vastupAla kharekhara dAkhalArUpa eTale ke Adarza samAna che. svadharmasthAnanI sAthe sAthe paradharmasthAnanA nirmANa Adi hakIkatone paNa samadraSTA vastupAlanI ucca prakAranI dharmagAthA kahI zakAya. A lekhamAM prasaMge prasaMge AvatI tathA anyatra paNa moTA pramANamAM upalabdha thatI vastupAlasaMbadhita vidyA pratyenI ane vidvAno pratyenI bhakti vagere hakIkato tema ja naranArayaNAna~mahAkAvya jevA prAsAdikagraMthanI racanA karavI vagere bAbatone varatupAlanI vidyAgAthA kahI zakAya. 1- 7 A sAta TippaNIovALI hakIkato Thakkara arisiMhakRta sukRtasaMkIrtana, AcAryazrI udayaprabhasUriracita kIrtikalolinI, zrI narendraprabha uracita vastupAlaprazasti Adi vastupAlanA samayanI ja racanAomAM savistara varNavelI che. 8 A hakIkata garjarezvarapurohita somezvaradevaracita kIrtikaumudImAM maLe che. 9 juo enasa oNpha zrI bhAMDArakara orienTala ricarsa insiTaTayuTa-pUnA vaoN. 9, pR17 180, lekha 2

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330 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha Aje vastupAlanA saMbaMdhamAM jeTalI vividha sAmagrI upalabdha che teTalI bhAgye ja gujarAtanA koI bIjA aitihAsika puruSanI maLatI haze. yatra tatra prasiddha thayelI vipula sAmagrInA AdhAre AvA vizvavirala puNyazloka mahAmAtyanA vananA vividha pAsAMne comerathI carcIne eka graMtha lakhAya to te eka upayogI, preraka ane mahattvanuM kArya gaNAze. A lekhamAM ApelA be zilAlekhonI phoTokaoNpI ApavA badala zeTha zrIANaMdajI kalyANujInI peDhInA vahIvaTakartAone tathA daza prazastilekhovALI hastalikhita prati upayoga karavA ApavA badala zrIlAvaNyavijayajI jaina jJAnabhaMDAra(rAdhanapura)nA vahIvaTakartAone dhanyavAda ApIne prastuta lekha purNa karuM chuM. prati. luNusAvADo, amadAvAda-1 poSa zuklA pratipadA, vi. saM0 2023

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mUDabidrInA jaina bhaMDAranAM prAcIna tADapatrIya citro zrImatI sarayU vinoda dozI mahisura rAjyamAM meMgaloranI pUrve vIseka mAIla dUra AveluM mUDabikI nAmanuM nAnuM zahera enA prAcIna *jena hastalikhita graMtho tema ja digambara saMpradAyanI prAcIna jaina dhAtu tema ja pASANunI pratimAo vagere sAmagrIthI bharapUra kImatI bhaMDAra mATe jANItuM che. ahIMnA siddhAMtabasadI bhaMDAramAM varSothI sacavAyelA paNa kaSTasAdhya traNa tADapatrIya * hastalikhita graMtho-SakhaMDAgama, mahAbaMdha ane kyAyapAhuDa-Aje to prasiddha thaI gayA che. A graMthomAM keTalAMka citro paNa che. DaoN. hIrAlAla jaine, potAnA "khaMDagama" tema ja "bhAratIya saMskRti meM jaina dharmakA yogadAna" nAmaka graMthomAM A pratomAMnAM prAcIna citro prasiddha karyA hatAM, paNa tenA bhAvArtha ane kalAnuM vivecana karavuM jarUrI che. I. sa. 1964nA jAnyuArImAM dilhImAM maLelA AMtararASTrIya parvAya mahAsabhAnA adhivezana prasaMge yojAyelA hastapratonA pradarzanamAM A pratonAM citro vidvAnone sArI rIte jovA maLyAM ane tenA sArA phoTA vagere laI zakAyA. sane 1964mAM amerikAmAM penasilaveniyA yunivarsiTImAM yojAyela TAgora vyAkhyAnamALAmAM DaoN. motIcaMdrajIe e citro pratye aMgulinirdeza karyo hato. dakSiNa bhAratamAMthI Aja sudhI upalabdha graMthastha citromAM A citro kadAca sauthI vadhu prAcIna che tethI, tema ja prAcIna bhAratIya citrakalAnA ItihAsamAM agatyanuM sthAna dharAvatAM hovAthI, ane digambara jaina saMpradAyanAM graMthastha citromAM paNa mahattvanuM sthAna dharAvatAM hovAthI enuM thoDuM nirUpaNuM Avazyaka che. vakhaMDAgama, mahAbaMdha ane kaSAyapAhuDa nAmaka A traNe sacitra graMtho jena karma siddhAMtanuM nirUpaNa ratA ane digambara jaina mAnyatA mujabanA samasta tattvajJAnanA pramANabhUta graMtho che. digabara mAnyatA savistara mAhitI mATe juo buleTina oNpha dhI prinsa oNpha velsa myujhiyama oNpha vesTa inDiyA naM. 8, (1962-64), 5. 29-36

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332 : zrI mahAvIra jaina vidyAlaya suvarNa mahotsava grantha mujaba, bhagavAna mahAvIrano upadeza, je teonA gaNadharoe bAra aMga graMthomAM samAviSTa karela che, samaya jatAM paraMparAgata maukhika vinimayamAM kramaza: naSTaprAya thayo. mAtra pAMcamAM ane bAramAM aMgano thoDoka aMza thoDAka ja AcAryo jANatA hatA. khristI saMvatanA prAraMbhakALamAM, jaina prAcIna sAhityane jhaDapathI nAza thatuM aTakAvavAnI tIvra jarUriyAta ane AturatAne lIdhe, be AcAryoe, bhinnapaNe. tatkAlIna pravartamAna jJAnane ekatra karI, graMthastha karavAno prayatna karyo. guNadharAcArye karmabaMdhananA kAraNabhUta krodha, mAna, mAyA ane lobha kaSAyonuM nirUpaNa jemAM che evA kaSAyapAhuDa graMthanI racanA karI. dharaseNAcA papadaMta ane bhUtabali nAmaka be tejasvI ziSyone potA pAse raheluM sarva kaMI jJAna zIkhavyuM. dharaNanA upadezonuM A anuyAyIoe vyavasthitapaNe sUtrarUpe saMkalana karI cha bhAgamAM "SaTakhaMDAgama nuM sarjana karyuM. prathama traNa bhAga AtmAnubaMdha ane zeSa traNa bhAga bAhya kamanA prakArAdino paricaya karAve che. - pachInA saikAo daramiyAna A graMtho para ghaNI TIkAo racAI. paNa temAM vIrasene lakhela gaNanApAtra kAvRtti eTalI badhI prakhyAta thaI gaI ke tenI TIkA A kRtio sAthe ja saMmilita thaI gaI che. nyAyazAstranipuNa vIrasene dhavalA nAma moTI TIkAvRtti prathama pAMca khaMDa para racelI. cho khaMDa mahAbaMdha svayaMspaSTa hoI TIkAnI jarUra na hatI. A mahAbaMdha mahAdhavalA tarIke paNa prasiddha che. kaSAyapAhuDa para jayadhavalA TIkAkRtti racavA temaNe prayAsa karyo. paNa jIvananA aMta sudhImAM mAtra trIjA bhAganuM ja kArya pUrNa thatAM bAkInI TIkA pUrNa karavAnuM bhagIratha kArya temanA ziSya jinasenane mAthe AvI paDyuM. Ama beunA bhegA prayatnathI 60,000 zlokapramANu jyadhavalA TIkA pUrNa thaI I. sanI bAramI sadInI prathama paccIsImAM lakhAyelA A pakhaMDAgama, mahAbaMdha ane kaSAyapAhuDa nAmaka traNa tADapatrIya graMthonuM kada anukrame 75 x 6, 725 X 7 ane 68.5 8 7 se. mI. che. darekamAM anukrame be, sAta ane cauda citrAkRtio che. mULa prAkRta racanA kannaDa lipimAM lakhAyelI che. vIrasenacita TIkA prAkRtamAM tema ja vacce vacce saMskRta bhASAmAM ema mizrabhASAmAM che. vakhaMDAgamanI pratimAM ene lekhanasaMvata Apyo che, je I. sa. 1113 barobara gaNAya che. " je citro che tenuM mahattva mukhyatve mUtizAstranI dRSTie che. kalA ke sauMdaryadRSTi karatAM ye vadhu to dhArmika ke AdhyAtmika khyAlathI cItarAyelAM A citro che. pUrva bhArata ane nepAlanA sacitra tADapatrIya graMthomAM pAla-kalAnA devadevIonAM citro AvA ja upayogamAM AvelAM, tema ja pazcima bhAratIya citrakalAmAM paNa teramA saikAnAM vidyAdevIonAM ane tIrthaMkaranAM citro paNa AvA ja udezathI thayelAM. pUjanIya devadevInI mUtinAM A jAtanAM citrAMkananI pAchaLa, graMthanI asarakArakatAmAM daivIbala athavA sahAya prApta karavAno Azaya hoI zake. pAchaLanA samayamAM jeno citravicitra (complicated) tAMtrika maMDalarUpe vikAsa thayo te mAnyatAnAM bIja AvAM citromAM ApaNane maLI Ave che. A citro jaina devadevIo, sAdhuo, zrAvakazrAvikAonI jhAMkhI karAve che. uparAMta emAM padya ane puSpalatAonAM navAM suzobhano (Motifs) paNa maLe che. suMdara AlaMkArika kinArInI vacce maDhI hoya evI lAgavAthI A citrakRtio vizeSa AkarSaka athavA asarakAraka banI che. sAdI hovA chatAM ghaNI bhAtanI A kinAro tatkAlIna vastronI bhAtomAMthI prerAyela hoya ema lAge che. e ja samayanA mAnasollAsa nAmaka graMthamAM AvI vastronI bhAtonuM varNana ApaNane upalabdha thAya che. keTalIka vakhate madhyavartI suzobhana athavA pratIkanI be bAju judI judI pahoLAI ane judA judA

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citra-1 e goLAkAra suzobhano, kaSAyapAhaDa, maDabidrI, bAramI sadInA pUrvArdha, 68.5 x 7 se. mI. citra-2 bAhubalI, kaSAyapAhuDa, mUDabidrI, bAramI sadIno pUrvArdha, 685 8 7. se. mI. citra-3 caturbhujadevI, mahAbampa, mUDabiMdrA, bAramI sadInA pUrvArdha, 72 5 x 7 se. mI. (juo pR. 332)

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L civa-4 siMhAsanasthadaivI ane cAmANIo, pAyapAkksa, maDibaDI, bAramI sadIno pUrvArdha, 18567 se. mI. citra-5 aMbikA, kAyapADuM, jhiMbI, bAramI sadIno varSa, 18.pa6 7 se. mI. citra-6 savarNa canna (!), kaSAyapAhuDa, hiMdrA, bAramI sadIno pUrvArdha 68567 se. mI.

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mUDabidrInA jaina bhaMDAranA prAcIna tADapatrIya citro : 333 raMganA sAdA paTTA cItarelA che, jemAM ekajAtanI trikoNa AkRtio athavA tAlapatra, rekhAtraya, vRttarekhA athavA biMduo AdinI bhAta hoya che. kalAkAro phUlavela tarapha kaMIka vizeSa abhiruci dharAvatA hoya ema lAge che. teo suzobhanonI paTTIrUpe ke citronI AsapAsanI kinArI tarIke eno upayoga kare che, to koIkavAra kamAno (toraNu) vaccenI khAlI jagyAne nAnI sarakhI rekhAo vaDe sudhaDapaNe bharI dIdhI che (juo citra 5). kalAkAronuM cAturya, hastakauzalya ane AkRti sAtheno suparicaya kamaLonAM goLAkAra suzobhanomAM jevAM jaNAI Ave che (juo citra 1) tevAM anyatra javalle ja upalabdha che. kamaLapatronI rUDha (conventional) AkRtione, ekabIjAmAM samAI jatAM suMdara vartulonI bhaumitika racanArUpe suMdara rekhAMkanothI rajU karela che. devo--ane khAsa karIne devIonAM citro vadhu che. tIrthaMkarone kAryotsarga (juo citra 2) agara padmAsana avasthAmAM darzAvela che. drAkSanI latAothI vIMTaLAyela TaTTAra UbhelA bAhubali ane pArzvanAthanI mUrtio sivAya bIjA tIrthaMkaronI mUrtio upara lAMchano na hovAnA kAraNe te kyA tIrthaMkaronI che te oLakhI zakAtuM nathI. A citromAM jainonI khyAtanAma yakSiNIo jovAmAM Ave che. emAM pArzvanAthanI adhiSThAyikA devI padmAvatInuM citra sauthI vadhu suMdara che. Asana upara birAjita devIe upalI bhujAomAM aMkuza ane pAza dhAraNa karelA che ane nIcalo jamaNo hAtha abhayamudrAmAM teMthA DAbo hAtha varadamudrAmAM che. dedIpyamAna mukuTa ane saptapheNudhArI nAganuM chatra dhAraNa karatI A devI anya AbhUSaNothI paNa vizeSa dIpe che. nAganA mastaka ane haMsanA dehathI zobhatuM devInuM kachuTasarpa nAmanuM vAhana tenI jamaNI bAjue che. AmAM vRSabhArUDha devInuM eka suMdara citra che. A citramAM eka prakAranI sajIvatA che, je khIjI koIpaNa devInA citramAM jovAmAM AvatI nathI. vRSabha para ArUDha devInA zarIrano paDakheno bhAga dekhAya che. vRSabhanuM kheMcAyeluM mastaka ane gAMTha vALela UDatA khesa, AvA ja prakAranA anya citromAM je sthitibhAva-jaDabhAva jovA maLe che tene badale, ahIM tAdazya cetanavaMtA bhAvonI rajUAta karI jAya che (juo citra 3). caturdastadhAriNI devIe uparanA jamaNA ne DAbA hAthamAM aMkuza ane pAza dhAraNa karela che, paNa nIcalA hAtha spaSTa dekhI zakAtA nathI. ahIM mUrtividyA eka samasyA UbhI kare che kAraNake e devImAM padmAvatInAM lakSaNo hovAM chatAM enuM vAhana vRSabhanuM hovAthI ene padmAvatI tarIke oLakhAvavI zakAya nathI. jo vRSabha vAhanane ja paricayacihna tarIke lekhIe to enI rohiNIdevI tarIke oLakha ApavI susaMgata thAya che. chatAM ye tenI dvividha lAkSaNikatA e citrane rahasyamaya ja rAkhe che. cArabhujAyukta ane suzobhita pIMchAvALA haMsasahitanI khIjI eka devInuM citra che. teNe paNa upalA jamaNA te DAbA hAthamAM aMkuza ne pAza dhAraNa karela che. nIcalo jamaNo hAtha abhayamudrAmAM che. DAbo hAtha citramAM aspaSTa che. A devIne paNa oLakhavI adharI che. Ama ochevatte aMze samAna evAM bIjAM e citromAM devIne laMbacorasa AkAranA Asana upara ArUDha karI, khAjumAM pUjaka ane mayUra Alekhela che. emAMnA eka citramAM devInA nIcalA DAma hAthamAM pustaka hovAthI A sarasvatI devI che ema pratIti thAya che. khIjA citramAM agAu mujaba aMkuza ne pAza tema ja nIcalo jamaNo hAtha abhayamudrAdarzaka che. jaina mUrtizAstra (iconography)---khAsa karIne digambara mAnyatA mujabanA mUrtizAstramAM padmAvatI tema ja sarasvatIdevI enA hAthamAM aMkuza ane pAza jevA maLe che. A devIne sarasvatIdevI tarIke nizcita TharAvIe te pahelAM tene eka citramAM zveta ane khIjAmAM

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334: zrI mahAvIra jaina vidyAlaya suvarNa mahotsava thaW zyAmavarNI batAvela che te paNa vicAravA jevI bAbata che kAraNake sAmAnyataH sarasvatI devInI kRti zvetasuMdara hoya che, tyAre ahIM mAtra A devI ja nahi paNa bIjI devIo paNa banne rIte-zveta tema ja zyAma-Alekhela che. evA traNa dAkhalA A citromAM che ke jemAM eka ja prakAranA AyudhovALI devI zveta tema ja zyAma banne rIte Alekhela che, ane AvA kissAomAM beu prakAranAM citro lagabhaga ekamekanI nakala jevAM maLatAM Ave che. citramAM, devIonI besavAnI paddhati, lAkSaNika cihno, pArvasevakonI saMkhyA, hAvabhAva, pozAka ane kezabhUSA lagabhaga samAna athavA maLatAM Ave che. taphAvata phakta che varNamAM ja. eka rakta ane bIjI pIta che (juo citra 4). bauddhonI gaura ane zyAma tArAnI mAnyatA jevI A mAnyatA che. dhyAna kheMce evI vastu e che ke judI judI avasthAmAM paNa devInI upalI banne bhujAo ane nIcalI jamaNI bhujAo eka ja prakAranAM lAkSaNika cihno dharAve che. nIcalA DAbA hAthamAM keTalIkavAra biruM nAmaka phaLa hoya che, agara to te hAtha varadamudrA darzAvato hoya che. paraMtu e chellA hAthanA lakSaNa uparathI koI sarvasAmAnya siddhAMta tAravI zakAya tema nathI. be bhujAvALI aMbikAdevInAM be citro maLe che. ekamAM te potAnA banne putro sAthe ane siMhavAhana upara virAjita che; bIjAmAM pote Asana para birAjamAna che ane tenA banne putro banne bAju siMhArUDha hoya tema devInI banne bAjue darzAvela che (juo yitra 5). - yakSonAM cAra citro maLe che, temAM ekamAM kuberane maLato dibhuja yakSa be vRkSanI vacce beThelo che, ane tenI bAjumAM tenuM hastivAhana batAveluM che. digambara praNAlikA mujabanA sarvaNa(sarvAha) yakSa tarIke ene oLakhAvI zakAya (jUo citra 5). bIjA yakSo barAbara oLakhI zakAtA nathI. mAtra ekamAM mukuTa upara yathAsthAne nAganI pheNa dharAvatA yakSane pArzvanAthanA zAsanatyakSa dharaNendra tarIke oLakhI zakAya che. dAtAo ke bhaktajanonAM citro phakta khaDAgamanI pratimAM eka ja patranA be cheDe maLe che. paNa temAM paNa AkRtio ghasAI gaI che. upAsakoe dhotiyuM ane khesa dhAraNa karyo che. emAM eka vyaktine aNiyALI dADhI che, ane teNe AbhUSaNo ane bhUrA raMganuM jAkITa paherela che. pazcima bhAratanAM bAramI sadInAM citromAM jovA maLatAM jAkITa jevuM ja A jAkITa jaNAya che. - A traNeya graMthonI nakala (hastaprati) lakhavAmAM samayanI daSTie jhAjhuM aMtara nahi hovAthI enAM citromAM khAsa noMdhapAtra zalibheda nathI. chatAM paNa pratyeka pothInAM citro, tatkAlIna kalAnA nItiniyamonI maryAdAmAM rahIne paNa, potapotAnuM AgavuM vyaktitva dharAve che. pakhaMDAgamanAM citronI saMyojanAmAM ghaNuMkharuM eka ja vyaktinuM citra maLe che, jyAre kaSAyapAhuDamAM traNathI pAMca AkRtio eka eka citramAM maLe che. sAmAnyarIte kaSAyapAhuDanAM citromAM vadhAre noMdhapAtra pArzvabhUmikA tema ja vadhAre vigato (elaboration) najare caDhe che." prAcIna citromAM be mukhya prakAranA bheda che : ekamAM rekhA upara bhAra mUkavAmAM Ave che, bIjAmAM varNa athavA raMganI mukhya madada levAya che. bIjA prakAramAM, jene Colour Modelling Style kahe che, temAM varNane ghero athavA Acho karI AkRtionA judA judA avayavone upasAvavAmAM Ave che. jADIpAtaLI thatI rekhAo vaDe paNa dehane upasAvavAno prayatna karavAmAM Avyo che (juo citro 3, 5 ) paNa keTalIka vakhate rekhAMkanazelI (Linear Technique)no Azraya levAmAM Avyo che ane emAM vizeSa karIne zarIranA aMgapratyaMgamAM atizayokti ane Asana athavA kAyasthitima asvAbhAvikatAnAM tatvo jovA maLe che. pakhaMDAgAmamAMnAM citro eka prakAre prabhAvazALI che ane

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mUDabidrInA jaina bhaDAranA prAcIna tADapatrIya citraH 375 emAM dehanI vizALatA jovA maLe che. mahAbaMdhanI pratimAnAM citromAM dehanI AkRtinI AsapAsa jArI rekhAo dorI, je raMga AchopAtaLA karI upasAvI zakAya (Colour Modelling) te upasAvavA prayatna karyo che; rekhAo ne vaLAMka ApI dehanI jADAI darzAvavA prayatna karyo che (juo citra 3, 5). kaSAyapAhuDanI pratamAMnAM citromAM rekhAMkanazailI (Linear Technique)no vadhu upayoga thayo che. mukhadarzanamAM, bIjI bAjunA kapola ane gAlane dabAvI, te taraphanI AMkhane AkhI batAvavA jatAM. eno cheDo zarIranI AgaLa avakAzamAM nirAdhAra laTakato batAvyo ane dehanA aMgaprayaMganA citraNamAM atizayokti thatAM sapramANatAno abhAva Avyo. strInA payodharo moTA ane kaTipradeza vadhu paDato saMkucita batAvavAmAM Avela che (juo citra 2, 4). hAtha ane paga cItaravAmAM je eka prakAranI grAmyatA ke aNudhaDapaNuM dekhAya che te AvaDatanA abhAva karatAM ye vizeSe karIne to kalAkAranI manovRttinuM pariNAma che. A prakAranI bedarakArI mukhyatve zarIranA avayavonA cheDAnA bhAgomAM khAsa karIne dekhAya che. citromAM sthApatyanuM darzana najIvuM che. khAsa karIne traNa ke pAMca vaLAMkavALI kamAno maLe che, jenI nIce devIo AsanArUDha cItarelI che. keTalIka vakhate A kamAno vadhAre alaMkata dekhAya che. je tatkAlIna sthApatyonA anukaraNarUpa che. vRkSonuM Alekhana rUDhi mujabanuM che. eka prakAra mujaba vRkSanI vacamAM raktaraMgI biMdu ane cArekora khIlelAM pAMdaDAM che; bIjA prakAramAM vRkSanI Toca nAnAM gulAbonI banelI che (juo citra 4). trIjA prakAramAM meTAM vaLelAM pAMdaDAM zobhAmAM khUba vadhAro kare che. A citromAM ghero lIlo, pILo ane lAla raMga vAparyA che. rekhAMkanomAM kALo raMga vAparyo che. A citronI kaLA samakAlIna karNATakI zilponI kalA sAthe gADha saMbaMdha dharAve che e noMdhavuM joIe. alaMkaraNa athavA suzobhana rUpe vela(scroll) paTTInuM nirUpaNa, devadevIonAM mUrtividhAna, hAtha vagerenI mudrA athavA goThavaNI ane alaMkAro tathA ene paheravAnI Dhaba vagere tatkAlIna zilpo citromAM samAna che, ane ekamekano saMbaMdha puravAra kare che. zilpo tema ja citromAM siMhanI AkRti ekasarakhI rUTinI che. e dhyAnamAM rAkhavuM joIe ke bAramI sadImAMnAM kaTakI citro ane zilpa banne samAna dhArmika tema ja sauMdaryaviSayaka AdazoMthI prerAyela hatAM. aMtamAM, A citrakRtio kalAdaSTie mahAna na hovA chatAM paNa dakSiNa bhAratanI prAcIna citrakalAnA astitvasUcaka zeSamAtra namUnArUpa hoI mahattvanI che. atyArasudhI sabaLa purAvAnA abhAve AvI graMthastha citrakalAnuM astitva phakta kalpavAmAM ja AvatuM hatuM, paraMtu have muDabidrInI sacitra hastapratonI zodhathI A citrakalAnI paraMparAnI kaMIka jhAMkhI thAya che, ane e citro ApaNane vaibhavazALI tema ja gauravayukta bhUtakALanI jhAMkhI karAve che. vadhumAM, A citromAM gujarAta ane rAjasthAnanI pazcima bhAratanI citrakalAnI zailI sAthe anurUpa evAM keTalAMye to jovA maLe che. A citro citra ane zilpakaLAno paraspara gADha saMbaMdha darzAve che, ane pAchalA samaya daramiyAna dakSiNa bhAratamAM citrakalAno je vikAsa thayo tenAM purogAmI che.

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hindI vibhAga

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bhAratIya darzanameM AtmavAda sAdhvI nirmalAzrI mAnava svabhAva cintanazIla hai| vaha kucha na kucha cintana karatA rahatA hai, isaliye darzanakA kSetra 'satyakA anveSaNa' honA caahiye| bhagavAn mahAvIrake zabdoMmeM 'satya hI lokameM sArabhUta hai|' darzana zabdakA prayoga sabase pahale 'AtmAse sambandha rakhanevAlA vicAra ke arthameM huA hai| darzana arthAt vaha tattvajJAna jo AtmA, karma, paraloka, mokSa AdikA vicAra kreN| 'tAttvika vicAra-paddhati' yA 'tattvajJAna'ko bhI darzana kahA jAtA hai| jisa paddhati yA vastuko lekara tarkapUrNa vicAra kiyA jAya usIkA vaha (vicAra) darzana bana jAtA hai-jaise Atmadarzana aadi| sabase pramukha tattva AtmA hai-'jo AtmAko jAna letA hai vaha sabako jAna letA hai| __ aneka vyakti yaha nahIM jAnate ki 'maiM kauna hU~?' 'kahA~se AyA hU~?' 'kahA~ jAU~gA?' 'merA punarjanma hogA ki nahIM ?", darzanakA janma isa tarahakI jijJAsAse hotA hai| isa vicArapaddhatikI nIMva AtmA hai| yadi AtmA hai to vaha vicAra hai, yadi AtmA nahIM hai to vaha bhI nhiiN| ataH AtmAke viSayameM dArzanikoMkA mantavya jAnanA Avazyaka ho jAtA hai| cArvAka darzanake anusAra-pratyakSa hI ekamAtra pramANa hai| ataH svarga, naraka, AtmA, paraloka Adi nahIM hai| yaha loka itanA hI hai jitanA dRSTigocara hotA hai| jar3a jagat pRthivI Adi cAra prakArake bhautika tatvoM se banA huA hai| jaise pAna, cUnA aura katthemeM alaga alaga lalAI dIkha nahIM paDatI, para inake saMyoga honese lalAIkI utpatti ho jAtI hai aura mAdaka dravyoMke saMyogase madirAmeM mAdakatAkA 1 sacaM logammi sArabhUyaM-praznavyA0 2 saMvaradvAra / saccammi thiI kuvvahA-AcA0 1 / 3 / 3 / 111 / 2 nyA. sU0-1-1-1, vai0 da. 111 / 3 Atmani vijJAte sarvamidaM vizAtaM bhavati - bRha0 upa0 2-4-6 / je egaM jANai se sambaM jANai-AcA0 4 iha megesiM no sannA hoi, kamhAo disAo vA Ago ahamaMsi ? asthi me AyA ubavAie vA natthi ? kevA ahamaMsi ? ke vA io cuo iha peccA bhavissAmi |-aacaa0 111 / www.jeinelibrary.org

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2 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha AvirbhAva hotA hai, vaise hI pRthivI Adi cAroM bhUta jaba deharUpameM pariNata hote haiM taba usa pariNAma vizeSase usameM caitanya utpanna ho jAtA hai|' usa caitanya viziSTa dehako jIva kahA jAtA hai / " 'maiM sthUla hU~', 'maiM kRza hU~', 'maiM prasanna hU~' Adi anubhavoMkA jJAna hameM caitanyayukta zarIrameM hotA hai, bhUtoM ke nAza hone para usakA bhI nAza ho jAtA hai| ataH caitanyaviziSTa zarIra hI kartA tathA bhoktA hai, usase bhinna AtmA ke astitvakA koI pramANa nahIM hai| zarIra aneka haiM ataH upalakSaNase jIva bhI aneka haiM, dehake sAtha utpatti aura vinAza svIkAranese vaha dehAkAra aura anitya hai / cArvAkakA ekadeza koI indriyako, koI prANako aura koI manako bhI AtmA mAnate haiN| koI caitanyako jJAna aura dehako jar3a mAnate haiM / unake mata meM AtmA, jJAna- jar3Atmaka hai / " bauddhadarzana ke anusAra - AtmA se kisI sthAyI dravyakA bodha nahIM hotA hai kintu vijJAna - pravAhakA bodha hotA hai, vijJAnaguNarUpa honeke kAraNa usakA koI pariNAma nahIM hai / buddhako upaniSad pratipAdita AtmA ke rahasya ko samajhAnA pradhAna viSaya thA / sakala duSkarmoM ke mUlameM isI AtmavAdako kAraNa mAnakara unhoMne AtmA jaise eka pRthak padArthakI sattAko hI asvIkAra kiyA hai / " mokSakI sAdhanA ke viSaya meM prAyaH buddhadevakA upaniSadoMse koI matabheda nahIM dIkhatA / kintu AtmAko lekara buddha aura upaniSatkAroM meM jo bheda hai, use hama isa prakAra se rakha sakate haiM ki jahAM upaniSadeM yaha mAnatI haiM ki mokSa AtmajJAnase hotA hai, vahAM buddhadevakA yaha vicAra hai ki AtmAkA jJAna mokSa nahIM, jIvake bandhanakA kAraNa hai / ... AtmAkA astitva hai, tatrataka hama 'maiM aura merA ' ke bandhanase chUTa nahIM sakate' / vijJAnoM ke pravAharUpa AtmA pratikSaNa naSTa hone ke kAraNa anitya hai / pUrva-pUrva vijJAna uttarottara vijJAna meM kAraNarUpa honese mAnasika anubhava aura smaraNAdika kI asiddhi nahIM hai / bauddha anAtmavAdI hote hue bhI karma, punarjanma aura mokSako svIkAra karate haiM / DokTara pharakoharakA mata hai ki 'buddhadeva punarjanmako mAnate the kintu AtmA ke asvitvameM unakA vizvAsa nahIM thA' / " yadi buddha AtmAkI nityatAko nahIM mAnate the to punarjanma meM unakA vizvAsa kaise ho sakatA thA ? bacapana, yuvA aura vRddhAvasthA meM eka hI vyaktikA astitva kaise ho sakatA hai ? pratItyasamutpAda aura parivartanavAda ke kAraNa nitya AtmAkA astitva asvIkAra karate hue bhI buddha yaha svIkAra karate the ki jIvana vibhinna avasthAoM kA eka pravAha yA saMtAna hai / jIvanakI vibhinna abasthAoMmeM pUrvApara kArya-kAraNa sambandha rahatA hai isaliye saMpUrNa jIvana ekamaya jJAta hotA hai / jaise dIpakajyota; vaha pratikSaNa bhinna honepara bhI avicchinna jJAta hotI hai / 1 kiNvAdibhyo madazaktivaccaitanyamupajAyate / - sarva0 da0 saMgraha. pR0 2 | 2 caitanyaviziSTadeha evAtmA / - sarva0 da0 saMgraha. pR0 3 / 3 4 vijJAnaghana evaitebhyo bhUtebhyaH samutthAya tAnyevAnuvinazyati na pretya saMjJAsti / - bR0 2 / 4 / 12 / cArvAkaikadezina eva kecidindriyANyevAtmA, anye ca prANa evAtmA, apare ca mana evAtmeti manyante / sarva0 da0 saMgraha. pR0 56 / caitanyaviziSTe dehe ca caitanyAMzo bodharUpaH dehAMzazca jaDarUpa ityetanmate jaDabodhatadubhayarUpo jIvo bhavati / - sarva0 da0 saMgraha. pR0 56 / 6 vijJAnasvarUpo jIvAtmA / sarva0 da0 saM0 pR0 57 / 7 dIrgha0 ni0 pR0 113 115 / bhAratIya darzana / baladeva / upAdhyAya pR0 185 / 8 1 saskRtike cAra adhyAya / dinakarajI / pR0 135-136 / 5

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bhAratIya darzanameM AtmavAda : 3 AtmA ke viSaya meM pUchane para buddha kahate the ki 'yadi maiM kahU~ AtmA hai to loga zAzvatavAdI bana jAte haiM, yadi yaha kahU~ ki AtmA nahIM hai to loga ucchedavAdI ho jAte haiN|' buddha madhyamArga ke vyAkhyAtA the / DokTara Ananda kumAra svAmIkA yaha bhI kahanA hai ki, sAre bauddha sAhitya meM kahIM bhI yaha ullekha nahIM milatA ki AtmA nahIM hai athavA jo zarIra rogI, vRddha yA mRta bana jAtA hai usase alaga manuSya meM koI zakti nahIM hotI.... 3:3 rAhulajIne isa viSaya kI vyAkhyA karate hue likhA hai ki, " buddha ke samaya meM AtmA ke svarUpa ke viSaya meM do mata pracalita the / eka to yaha ki AtmA zarIra meM basanevAlI, para usase bhinna eka zakti hai, jinake rahanese zarIra jIvita rahatA hai aura jisake cale jAnese vaha zava ho jAtA hai| dUsarA mata yaha thA ki AtmA zarIra se bhinna koI kUTastha vastu nahIM hai / zarIra meM hI rasoMke yogase AtmA nAmaka zakti paidA hotI hai, jo zarIrako jIvita rakhatI hai| rasomeM kamI - bezI honese isa zaktikA lopa ho jAtA hai jisase zarIra jIvita nahIM raha pAtA / buddhadevane anyatrakI bhA~ti yahAM bhI bIcakI rAha pakar3I aura yaha kahA ki AtmA na to sanAtana aura kUTastha hai na vaha zarIra ke rasoM para hI bilakula avalambita rahatI hai aura na vaha zarIra se bilakula bhinna hI hai / vaha, asala meM skandhoM bhUta (Matter) aura mana(Mind)ke yogase utpanna eka zakti hai, jo anya bAhya bhUtoMkI bhAMti kSaNa-kSaNa utpanna aura vilIna hotI rahatI hai| unhoMne na to bhautikavAdiyoM ke ucchedavAdako svIkAra kiyA, na upaniSadavAdiyoMke zAzvatavAdako / asala meM, AtmA ke viSaya meM unakA mata azAzvatAnucchedavAdakA paryAya thA / 4 mAdhyamika bauddhoM ke anusAra vyavahAradazA meM jIvAtmA pratibhAsita hotA hai kintu usakA mUla svarUpa zUnya hI hai| nyAya-vaizeSikadarzana ke anusAra - jIvAtmA kUTasthanitya aura vibhu hai / vaha aneka hai / buddhiyA jJAna, sukha-duHkha, rAga-dveSa, icchA, prayatna Adi guNa usameM rahate haiM / ye jar3a jagata ke guNa nahIM hai ataH hame mAnanA hI paDatA hai ki ye eka aise dravya ke guNa haiM jo jar3a dravyoM se bhinna hai, jise AtmA kahateM hai / maharSi kaNAdane 'prANApAna, nimeSonmeSa, jIvana, manogati, indriyAntara, Adi AtmA ke liGga batalAye haiN| 'iMdriya aura zarIra AdikA niyantraNa karanevAlA AtmA hai| jo karaNa hotA hai vaha kartAkI apekSA rakhatA hai'| inakA mata vastuvAdI | vaizeSika sukhaduHkha AdikI samAnatAkI dRSTise AtmAkI ekatA mAnate hai aura vyavasthA kI dRSTise AtmAkI prati zarIra bhinnatA mAnate haiM / " astIti zAzvatagrAhI, nAstItyucchedadarzanam / tasmAdastitva - nAstitve, nAzrIyeta vicakSaNaH // mA0 kA 0 18/10 Atmetyapi prajJApitamanAtmetyapi dezitam / buddhairnAtmA na cAnAtmA, kazcidityapi dezitam / mA0 kA 0 1916 jainadarzana ke maulikatattva | - pR0 392 | 3 saMskRtike cAra adhyAya, dinakarajI, pR0 139 / 4 saMskRtike cAra a0, pR0 139 / sarva0 da0 saM0, pR0 36 | prANApAnanimeSonmeSa ... AtmaliGgAni / vaizeSika sU0 3|2|4 | 1 2 b 6 7 AtmendriyAdyadhiSThAtA karaNaM hi sakartRkam / muktAvalI kA 0 47 | sukha-duHkha-jJAna-nirUpatvavizeSAdekAtmyam / vai0 sU0 3 / 2 / 19 / vyavasthAto nAnA / vai0 sU0 3 / 2 / 20 / jIvastu pratizarIraM bhinnaH - tarkasaMgraha 8 9

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4 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava anya sAMkhyadarzanake anusAra-dvividha mUlatattva hai prakRti aura puruSa (aatmaa)| prakRti jaDAtmikA eka hai, parantu puruSa cetana tathA aneka hai| sAMkhya AtmAko nitya aura niSkriya mAnate haiN| isI bAtako AcArya zrI hemacaMdra jIne 'syAdvAdamaJjarI' meM nirdeza kiyA hai ki kApiladarzanAnusAra AtmA (puruSa) "amUrta' cetana, bhoktA, nitya, sarvavyApI, kriyArahita, akartA, nirguNa aura sUkSma" hai| sAMkhya jIvako kartA nahIM mAnate, kintu prAtibhASika kartA aura phalabhoktA mAnate haiN| unake matAnusAra kartRtvazakti prakRtimeM haiN| 'maiM hU~', 'yaha merA hai' isa pratItike dvArA AtmAkA astitva nirvivAda siddha hai| buddhi meM cetanAzaktike pratibiMba par3anese AtmA (puruSa) apaneko abhinna samajhatA hai, ataH AtmAmeM meM sukhI hU~, duHkhI hU~, aisA jJAna hotA hai| vAdamahArNavameM bhI kahA haiM: "darpaNake samAna buddhimeM par3anevAlA padArthoMkA pratibiMba puruSarUpI darpaNameM pratibiMbita hotA hai / buddhi ke pratibiMbakA puruSameM jhalakanA hI puruSakA bhoga hai, isIse puruSako bhoktA kahate haiN| isase AtmAmeM koI vikAra nahI AtA"4 isI taraha pataJjali, Asuri aura vindhyavAsIne bhI apane vicAra vyakta kiye haiM / mImAMsAdarzanake anusAra-AtmA kartA tathA bhoktA hai| vaha vyApaka aura pratizarIrameM bhinna hai| jJAna, sukha, duHkha tathA icchAdi guNa usameM samavAya sambandhase rahate haiN| AtmA jJAnasukhAdirUpa nahIM hai| bhATTa mImAMsaka AtmAko aMzabhedase jJAnasvarUpa aura aMzabhedase jar3a svarUpa mAnatA haiM, unake matAnusAra AtmA bodha-abodharUpa hai|5 bhATTa AtmAmeM kriyAke astitvako mAnate haiM, unake matAnusAra pariNAmazIla honepara bhI AtmA nitya padArtha hai| AtmA cidaMzase pratyeka jJAnako prApta karatA hai aura acidaMzase vaha pariNAma ko prApta karatA hai| kumArila AtmAko caitanyasvarUpa nahIM kiMtu caitanya viziSTa mAnate haiN| zarIra tathA viSayase saMyoga honepara AtmAmeM caitanyakA udaya hotA hai, para svapnAvasthAmeM viSayase saMparka na hone ke kAraNa AtmAmeM caitanya nahIM rhtaa| prabhAkara AtmAmeM kriyAvattA nahIM mAnate / bhAdR matAnusAra AtmApara vicAra karanepara Atmabodha hotA hai| 'maiM hU~' ise 'ahaMvitti' (self-Consciousness) kahate haiN| isIkA viSaya (Object) jo padArtha hotA hai vaha AtmA hai| prabhAkara isa matako nahIM maantaa| usakA kathana hai ki 'ahaMvitti' kI dhAraNA hI ayukta hai| kyoMki eka hI AtmA jJAtA aura jJeya donoM eka sAtha nahIM ho sktaa| vedAntadarzanake anusAra-zaMkarakA mata vizuddha advaitavAdakA hai| unake matAnusAra svabhAvataH jIva eka aura vibhu hai, paraMtu dehAdi upAdhiyoM ke kAraNa nAnA pratIta hotA hai| eka viSayakA dUsare viSaya ke sAtha bheda, jJAta aura zeyakA bheda, jIva aura IzvarakA bheda ye saba mAyAkI sRSTi hai| upaniSadoMmeM pratipAdita 1 amUrtazcetano bhogI, nityaH sarvagato'kriyaH / akartA nirguNa: sUkSmaH, AtmA kApiladarzane / syA0 ma0 pR0 186 / 2 prakRtereva vastutaH kartRtvam tacca prakRtisambandhAjjIvAtmani pratibhAsaH, atastatprAtimAsikamiti sAMkhyAH pAtaJjalAzca vadanti bhoktRtvamapyevameva / sa0 da0 saMgraha. pR0 58 / 3 sAMkhyakArikA, 62 / 4 syAdvAdamaarI-pR0 186 / 5 bhAdR / AtmAnamaMzabhedena jJAnasvarUpaM jaDasvarUpaM cecchanti / teSAM mata AtmA bodhAbodharUpa iti-paJcadazI-citrapada prakaraNa. 695 / cidaMzena dRSTatvaM so'yamiti pratyabhizA, viSayatvaM ca acidaMzena / jJAnasukhAdirUpeNa pariNAmitvam / sa AtmA ahaM pratyayenaiva vedyaH // kAzmIraka sadAnanda-advata brahmAsiddhi / prakaraNa-pazcikA. pR0 144 /

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bhAratIya darzanameM AtmavAda: 5 jIva aura brahmakI ekatA ke ve pUrNa samarthaka haiN| zaMkarAcAryakA kathana hai ki pramANa Adi sakala vyavahAroMkA Azraya AtmA hI hai / ataH ina vyavahAroMse pahale hI usa AtmAkI siddhi hai| AtmAkA nirAkaraNa nahIM ho sakatA / nirAkaraNa hotA hai Agantuka vastukA svabhAvakA nahIM / ' manuSya, zarIra - AtmA ke saMyogase banA huA jAna par3atA hai| paraMtu jisa zarIrako hama pratyakSa dekhate haiM, vaha anyAnya bhautika viSayoMkI taraha mAyAkI sRSTi hai / isa bAtakA jJAna ho jAnepara AtmA aura brahmameM kucha antara nahIM hai / 'tattvamasi' vAkyakA artha hai ki jIvAtmA brahmase abhinna hai arthAt donoMmeM abheda - sambandha hai / ' tvaM' se jIvakA adhiSThAnarUpa zuddha caitanya aura 'tat' se parokSa tattvakA adhiSThAna zuddha caitanya samajhanA cAhiye / isI tAdAtmyakA jJAna karanA 'tattvamasi' vAkyakA tAtparya hai / advaita matAnusAra jIvakA kartRtva naimittika hai / rAmAnuja ke viziSTAdvaita ke anusAra - tIna tattva hote haiM : cit, acit tathA Izvara / upaniSadoMmeM varNita Izvara aura jIvakI ekalA abheda sUcaka ekatA nahIM hai / brahma, cit (jIva) acit (jar3a) donoM tattvoMse yukta hai ataH vaha saguNa hai, nirguNa nahIM / cit aura acit aMza ekadUsare se bhinna haiM, tathApi una donoM aMzoMse viziSTa hote hue bhI brahma eka hai / brahmameM ye donoM aMza (tattva ) apanI bIjAvasthA meM nihita rahate haiM / pralayAvasthA meM jIvoM tathA bhautika padArthoMkA nAza ho jAtA hai taba bhI brahma, zuddha cit (zarIrarahita jIva) aura avyakta acit ( nirviSayaka-bhUta tattva ) se yukta rahatA hai / ise kAraNa brahma kahate haiM / jaba sRSTi hotI hai tatra brahma zarIradhArI jIva tathA bhautika padArthoMke rUpameM abhivyakta hotA hai yaha kArya brahma hai / brahma ananta guNoM kA bhaMDAra hai / yaha sarvajJa, sarvazaktimAn hai / zAMkara matameM brahma hI mAyopAdhise Izvara aura avidyopAdhise jIva kahalAtA hai, parantu jar3a jagata prAtibhAsika ( mithyA) hI hai / ataH eka hI tatva hai / rAmAnuja ke anusAra brahma hI Izvara hai, usake zarIrabhUta jIva aura jagat usase bhinna haiM tathA nitya haiM / ataH padArtha tIna hai, eka nahIM / jIva aNuparimANa haiM kintu ananta haiN| ve ekadUsare se sarvathA pRthaka haiN| upaniSad aura gItAke anusAra - AtmA nitya hai, na kabhI vaha maratA hai aura doSoMko prApta karatA hai| AtmA zarIra se vilakSaNa, manase bhinna, vibhu" aura apariNAmI hai / vaha vANI dvArA agamya hai / " usakA vistRta svarUpa neti neti ke dvArA batAyA hai / " upaniSadoMne do prakAra ke vAkyoMkA prayoga kiyA hai| eka nirvizeSa liGga aura dUsarA savizeSa liGga / savizeSa liGga zrutiyA~, sarvakarmA, sarvakAma, sarvagandha Adi hai / nirvizeSa zrutiyA~ 'vaha na sthUla hai, ' na aNu hai, na kSudra hai, na vizAla hai Adi haiN| 1 AtmA tu pramANAdivyavahArAzrayatvAt prAgeva pramANAdivyavahArAt sidhyati / na cedRzasya nirAkaraNaM saMbhavati, AgantukaM hi nirAkriyate na svarUpam / zAM0 bhA0 2/3/7 vastvantara viziSTasyaiva advitIyatvaM zrutyabhiprAyaH / sUkSmacidacidviziSTasya brahmaNaH tadAnIM siddhatvAt viziSTasyaiva advitIyatvaM siddham / vedAntatattvasAra | bAlAgrazata bhAgasya zatadhA kalpitasya / bhAgo jIvaH sa vijJeyaH sa cAnantyAya kalpate / zre0 5-9 / 2 3 * na hanyate hanyamAne zarIre ...... kaTha. upa. 1-2 / 15/18 IzAvAsyamidaM sarvaM / yat kiJca jagatyAM jagat-IzA0 upa0 / 5 6 avikAryo'yamucyate ...... gI0 2 - 25 | 7 yato vAco nivartante, aprApya manasA saha-- taitta0 upa0 2 / 4 / 9 sa eSa neti neti bRdda0 upa0 4/5/15 / santi ubhayaliGgA: zrutayo brahmaviSathaH / sarvakarmetyAdyAH savizeSaliGgA : asthUlamanaNu ityevamAyAzca nirvizeSaliGgA; - zAGkara bhASya /

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6 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha jainadarzakake anusAra-AtmA jar3ase bhinna aura 'caitanya svarUpa' hai| sAMkhyayogameM jise 'puruSa' kahA gayA hai, bauddha jise 'vijJAnapravAha' kahate haiM, cArvAka jise 'caitanya viziSTa deha' mAnate haiM, aura nyAya-vaizeSika tathA vedAntamatase jo AtmA hai, vaha jainadarzanakI dRSTise jIva hai| to bhI jainadarzanakI AtmaviSayaka vicAradhArA anya darzanoM se svataMtra hai| 'dravyasaMgraha aura paJcAstikAyameM jIvakI vyAkhyA isaprakAra hai: 'jIva upayogamaya, svadehaparimANa, bhoktA, saMsArastha, siddha aura svabhAvataH urdhvagativAlA hai|'' 'jIva astitvavAn , cetana, upayogaviziSTa, prabhu, kartA, bhoktA, dehamAtra amUrta aura karmasaMyukta hai| 2 zrI vAdidevasUrijIne bhI 'pramANanayanatattvAlokAlaGkAra meM saMsArI AtmAkA jo svarUpa batalAyA hai usameM jainadarzanasammata AtmAkA pUrNarUpa A jAtA hai-jaise 'pratyakSAdi pramANoM se siddha3, caitanyasvarUpa, pariNAmI, kartA, sAkSAdbhoktA, sva-dehaparimANa, pratyeka zarIrameM bhinna aura paudgalika kose yukta AtmA hai|4 AtmaviSayaka isa lakSaNapara vicAra karanese pratIta hotA hai ki jainadarzanAnusAra jar3ase bhinna jo jIva hai vaha pratyakSAdi pramANoMse siddha vAstavika padArtha hai| AcAryazrIne isa sUtrameM AtmAko jar3ase bhinna aura 'caitanyasvarUpa' kahA hai| caitanya AtmAkA mukhya guNa aura usakA svAbhAvika svarUpa hai| AtmA 'jJAnamaya' hone ke kAraNa cArvAka, bauddha, vaizeSika isa vizeSaNase bhinna ho jAte haiN| cArvAka jar3ase bhinna padArthakA astitva hI nahIM svIkAra krte| jainoMse bauddha dArzanika isa bAtase sahamata haiM ki caitanya jar3apadArthakA vikAra nahIM hai| kintu ve AtmAnAmaka eka sat padArthake astitvako nahIM svIkArate, kevala vijJAna-pravAhako mAnate haiN| unakA kathana hai ki pratikSaNa udaya aura laya honevAle ina vijJAna-pravAhake mUlameM koI sthAyI sat padArtha nahIM hai| vaizeSika caitanyako, AtmAse bhinna, dehaindriya aura manase utpanna honevAlA Agantuka dharma mAnate haiN| pratisamaya anyAnya paryAyoMmeM gamana karaneke kAraNa AtmA 'pariNAmI' hai| jaise soneke mukuTa, kuNDala Adi banate haiM, taba bhI vaha sonA hI rahatA hai, ThIka usI prakAra cAroM gatiyoMmeM bhramaNa karate hue jIvakI paryAe~ badalatI hai, to bhI jIvadravya vaise hI rahatA hai| __ 'AtmAkA 'pariNAmI' vizeSaNa hone ke kAraNa nyAya-vaizeSika, sAMkhya Adi bhinna ho jAte haiM, kyoMki ve AtmAko apariNAmI kaTasthanitya mAnate haiN| __AtmA kartA tathA sAkSAdbhoktA bhI hai| jaise karmakAra kArya karatA hai aura usakA phala bhogatA hai, vaise hI saMsArI AtmA apanI sat-asat pravRttiyoMke dvArA zubhAzubha karmoM kA svayaM saMcaya karatI hai aura usakA phala sAkSAt bhogatI hai| pariNAmI, kartA aura sAkSAdbhoktA vizeSaNoM ke dvArA sAMkhya alaMga ho jAte haiN| kAraNa, ve prakRtiko kartA mAnate haiM aura puruSako kartRtvazaktirahita, pariNAmarahita, Aropita bhoktA mAnate haiN| 1 jIvo uvaogamo amutto kattA sdehprimaanno| bhottA saMsAratyo siddho so virssoddddhgii|--drvy0 saM0 gA0 2 / 2 jIvotti vadi cedA udaoga visesido pahU kattA / bhottA ca dehahmatto Na hi mUtto kammasaMjutto-paJcAstikAya / pramAtA pratyakSAdi prasiddha AtmA |-prmaann. na0 tattvA0 sU0 7 / 55 / 4 caitanyakharUpa: pariNAmI kartA sAkSAdbhoktA svadehaparimANa: pratikSetra bhinnaH paugalikAdRSTavAMzcAyamiti-pramANanaya tattvAlokAlaGkAra sU0 7 / 56 /

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bhAratIya darzanameM AtmavAda : 7 AtmA 'sva-deha pariNAma' hai kAraNa usakA saMkoca aura vistAra kArmaNazarIra sApekSa hotA hai| karmayukta dazAmeM jIva zarIrakI maryAdAmeM bandhe hue hote haiM, isaliye unakA pariNAma svataMtra nahIM hotaa| jo AtmA hAthI ke zarIrameM rahatI hai vaha kuMthuke zarIrameM bhI raha sakatI hai kyoMki usameM saMkoca-vistArakI zakti hai| ___ AtmAkA 'sva deha pariNAmI' vizeSaNa hone ke kAraNa nyAya-vaizeSika, advaitavedAntI aura sAMkhya vibhinna ho jAte haiN| kAraNa, ve AtmAko sarvavyApaka mAnate haiN| __AtmAkA eka vizeSaNa hai 'pratikSetre vibhinna' arthAt pratyeka zarIrameM svatantra hai| yaha jainadarzanakI mAnyatA sAMkhya, naiyAyika aura viziSTAdvaitavAdIke anukUla hai, to bhI advaitavAdI bhinna ho jAte haiN| kAraNa, unake matAnusAra svabhAvataH jIva eka hai, parantu dehAdi upAdhiyoM ke kAraNa nAnA pratIta hotA hai| jainamatAnasAra jIva 'pauvAlika adRSTavAn' arthAt karmasaMyukta hai| jaise sonA aura miTTIkA saMyoga anAdi hai, vaise hI jIva aura karmakA saMyoga bhI anAdi hai| jaise khAyA huA bhojana apane Apa sapta dhAtuke rUpameM pariNata hotA hai, vaise hI jIva dvArA grahaNa kiye hue karmayogya pudgala apane Apa karmarUpameM pariNata ho jAte haiN| AtmAkA 'paudgalika adRSTavAn' vizeSaNa honeke kAraNa nyAya-vaizeSika aura vedAntI bhinna ho jAte haiN| kAraNa, cArvAka adRSTa arthAt karmasattA ko mAnate hI nhiiN| nyAya vaizeSika adRSTa(dharmAdharma)ko AtmAkA vizeSaguNa mAnate haiM aura vedAntI use mAyArUpa mAnakara usakI sattAko hI nahI sviikaarte| saMkSepameM, jainadarzana ke anusAra AtmA-caitanyasvarUpa, vibhinna avasthAoMmeM pariNata honepara bhI nitya (kaTastha nitya nahIM), zubhAzubha karmokA kartA tathA usake phalakA bhoktA, sva-deha-pariNAma, na aNu, na vibhu kintu madhyama parimANakA hai| INV

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jaina dharmakA prasAra ke0 riSabhacandra eka samaya aisI mAnyatA rahI ki jaina dharma bauddha dharmakI hI eka zAkhA hai| DaoN0 yAkobIne isa bhrAnta dhAraNAko nirmUla kiyaa| tatpazcAt yaha kahA jAne lagA ki jaina dharma hindU dharma(brAhmaNa dharma)meM se hI utpanna huA hai, vaidika hiMsAke virodhameM jo Andolana AraMbha huA thA usane eka naye dharmake rUpa meM jaina dharmakA svarUpa pAyA, paraMtu jaise jaise anveSaNa agrasara hotA jA rahA hai vaise vaise yaha AkSepa bhI asatya siddha hotA jA rahA hai| Adhunika vidvAn aba yaha abhiprAya banAte jA rahe haiM ki jaina dharmakI paramparA bahuta prAcIna hai| bhagavAna mahAvIra aura pArzvake pUrvakAlameM bhI isa dharmakI paraMparA vidyamAna thI, itanA hI nahIM apitu prAgaitihAsika kAlameM bhI isa dharmakI paraMparAke dhuMdhale cihna dRSTigocara hone lage haiN| jainake alAvA isa dharma ke dUsare nAma Arhata aura nigraMtha rahe haiN| mahAvIrake samaya meM isakA nAma nigraMtha dharma thA jaisA ki pAli aura ardhamAgadhI sAhityase patA calatA hai| isakA eka anya nAma zramaNa bhI rahA hai, hAlA ki zramaNa zabda bahuta vistRta rahA hai aura usameM kaI saMpradAyoMkA samAveza hotA rahA hai : jaise bauddha, AjIvika tathA kucha sImA taka pUrvakAlIna sAMkhya aura zaiva bhii| isI zramaNa paraMparAmeM nigraMthoMkA bhI eka saMpradAya thaa| pArzvanAthake pahale isa saMpradAyakA kyA nAma rahA, yaha jAnane ke lie koI viziSTa sAdhana upalabdha nahIM haiN| yaha sunizcita hai ki zramaNaparaMparA nivRttipradhAna rahI hai aura use muniparaMparA bhI kahA gayA hai| eka pravRtti-pradhAna paraMparA bhI bhAratameM vidyamAna rahI hai, usakA nAma hai vaidika, yajJamukhI, deva, RSi athavA varNAzrama dharma prNpraa| vAstavameM ye donoM paraMparAe~ Rgveda kAlase pracalita haiN| Rgveda hamArA prAcInatama sAhitya hai jisameM hameM nivRtti aura pravRtti donoM mArgoM ke darzana hote haiN| usa samaya muniparaMparA bhI yatheSTa pramANameM lokapriya thii| maharSi pataJjaline pANi nike eka sUtrakI vyAkhyA karate hue batalAyA hai ki zramaNoM aura brAhmaNoMkA virodha zAzvata kAlase calA A rahA hai|' 1 mahAbhASya 2.4.9.

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jaina dharmakA prasAra : 9 purANoM aura mahAbhAratameM aisA ullekha hai ki sRSTi nirmANa karate samaya brahmAne prathama sanaka Adi putroMko utpanna kiyA thaa| ve vanameM cale gaye aura nivRttimArgI ho gye| taduparAMta brahmAne anya putroMko utpanna kiyA, jinhoMne pravRttipradhAna rahakara prajA kI santatiko Age bddh'aayaa| kahanekA tAtparya yaha ki nivRttipradhAna paraMparA atyaMta prAcIna hai| prAcIna kAla apane prAcIna itihAsa saMbaMdhI jaina AgamoM aura purANoMke varNanAnusAra jambUdvIpa ke dakSiNameM sthita bhArata dezameM, jisake uttarameM himavAn parvata hai, pahale bhogabhUmikI vyavasthA thii| kAlavyatikramase usameM parivartana zurU huA aura Adhunika sabhyatAkA prAraMbha / usa samaya caudaha kulakara hue, jinhoMne kramazaH kAnUnakI vyavasthA kI aura samAjakA vikAsa kiyaa| una caudaha kulakaroMmeM antima kulakara nAbhi the| unakI patnI marudevI thI aura unase prathama tIrthaMkara RSabhakA janma huA, jinhoMne sarvaprathama kRSi, zilpa, vANijya Adi chaha sAdhanoMkI vyavasthA kI tathA dharmakA upadeza diyaa| ye hI jainoM ke Adi dharmopadezaka mAne jAte haiN| inakA jyeSTha putra bharata thA jo prathama cakravartI huaa| isa taraha caudaha kulakaroM ke pazcAt tresaTha zalAkA puruSa hue jinameM 24 tIrthakara, 12 cakravartI, 9 baladeva, 9 vAsudeva tathA 9 prati vAsudeva haiN| prathama cakravartI bharatase hI isa dezakA nAma bhAratavarSa huA aisA jaina purANoM va AgamoMmeM kahA gayA hai| hindU purANoM ke anusAra bhI inhIM nAbhike pautra tathA RSabha ke putra cakravartI bharatake nAmase ajanAbha khaNDakA nAma bharatakhaNDa huaa| isa prakAra jaina anuzrutikA hiMdU(brAhANa) purANoM ke dvArA samarthana hotA hai aura usakI aitihAsikatA sUcita hotI hai| . RSabhadevakA janma ayodhyAmeM huA thaa| dIkSAke bAda ve kaThora tapasvI bneN| ve nagna rahate aura sirapara jaTAe~ dhAraNa karate the| jaina kalAmeM ghora tapasvI ke rUpameM tathA sirapara jaTAla kezoMke sAtha unakA aMkana huA hai| unake jIvana saMbaMdhI varNana ajaina sAhityameM bhI prApta haiN| hiMdU purANoM meMre (bhAgavata ityAdi) unake vaMza, mAtA-pitA aura tapazcaryAkA jo varNana hai vaha jaina varNanase kAphI sAmya rakhatA hai| ve svayaMbhU manuse pAMcavIM pIr3hI meM hue the| (isa varNanake anusAra anya avatAroM jaise rAma, kRSNa ityAdise inakA samaya prAcIna ThaharatA hai tathA mahAbhArata ke anusAra bhI prajApati ke prathama putra nivRttimArgI hue aura tatpazcAt pravRtti mArgakA pracalana haa|) ce kaThora tapasvI the aura nama rahate the| unhoMne dakSiNa dezameM bhI bhramaNa kiyA thaa| ve vAtarazanA zramaNa RSiyoM ke dharmako prakaTa karane ke lie avatarita hue the| unheM viSNu aura zivadonoMkA avatAra mAnA gayA hai| vAtarazanA zramaNa muniyoMkI isa paraMparA ke darzana bhArata ke prAcInatama sAhitya RgvedameM bhI hote haiN| isa vedake dasaveM maMDalameM vAtarazanA muniyoMkA varNana upalabdha hai aura usake sAtha unake pradhAna muni kezIkI bhI stuti kI gayI hai| kezIkA tAtparya kezadhArI vyaktise hai aura jaina paraMparAmeM sirpha RSabhakI mUrti jAla kezoMko dhAraNa kiye hue milatI hai| isa saMbaMdha mevAr3a ke kesariyAnAtha jo RSabhakA hI nAmAMtara hai, dhyAna dene yogya 1 zAntiparva 340 *72-73, 99-100, bhAgavata purANa 3.12 / bhAgavata purANa 5. 3. 5. 6., ziva mahApurANa 7. 2 / Rgveda 10. 136 / 2 3

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10 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha hai| RgvedameM eka sthalapara kezI aura vRSabhakA ekasAtha varNana bhI milatA hai aura unake ekatvakA samarthana hotA hai| jaina tIrthaMkara nama rahate the yaha suvidita hai| RgvedameM' tathA atharvavedameM bhI ziznadevoMke ullekha milate haiN| paTanAke lohAnIpura sthalase kAyotsarga mudrAmeM jo nagamUrti pAyI gayI hai vaha bhAratakI sabase purAnI mUrti hai aura vaha jaina tIrthakarakI mUrti mAnI gayI hai| vaise sindhu sabhyatAke jo bhagnAvazeSa prApta hue haiM unameM bhI eka nagnamUrti kAyotsarga mudrAmeM milI hai aura usake sAtha bailakA citra bhii| jaina paraMparAmeM bhI RSabhake sAtha bailakA cihna aMkita kiyA jAtA hai| isa kAraNa usa mUrtiko eka tIrthakarakI mUrti mAnane ke liye vidvAna loga prerita hue haiN| uparyukta AdhAroMse yaha mAnanA aprAmANika nahIM hogA ki Rgvedase bhI pahale sindhusabhyatAke kAlameM jaina dharmakA kisI na kisI rUpa meM astitva thaa| RgvedameM vrAtyoM ke ullekha Ate haiN| ve zramaNa paraMparAse saMbaMdhita the| unakA varNana atharvavedameM bhI hai| ve vaidika vidhike pratikula AcaraNa karate the| manusmRti meM licchaviyoM, nAtha, malla Adi kSatriyoMko vrAtya mAnA gayA hai| ye bhI sabhI zramaNa paraMparAke hI pratinidhi the| vrAtyoM ke alAvA vaidika sAhityameM yatiyoMke ullekha bhI Ate haiN| ve bhI zramaNa paraMparAke sAdhu the| jainoMmeM yati nAmakI saMjJA pracalita rahI hai| kucha kAlake pazcAt vaidika sAhityameM yatiyoM ke prati virodha hotA dIkha par3atA hai jo pahale nahIM thaa| tANDya brAhmaNake TIkAkArane yatiyoMkA jo varNana kiyA hai usase spaSTa hai ki ve zramaNaparaMparAke muni the| isa prakAra vadika sAhityake vividha graMthAma zramaNaparaMparA ke asaMdigdha ullekha bikhare par3e haiN| anya tIrthaMkaroMkI aitihAsika sattA ke pramANa upalabdha nahIM hue haiN| yajurvedameM RSabhadeva tathA dvitIya tIrthakara ajita aura teIsaveM ariSTanemike ullekha milate haiN| antima cAra tIrthaMkaroMkI sattA ke bAremeM kucha kahA jAne yogya hai| ikkIsaveM tIrthakara namikA sAmya kucha vidvAn uttarAdhyayanameM varNita namike sAtha biThAte haiM jo mithilAke rAjA the| unake anAsakti viSayaka udgAra-vAkya pAli aura saMskRta sAhityameM late haiN| usI paraMparAmeM janaka hue jo videha (jIvanmukta) the aura unakA deza bhI videha khlaayaa| unakI ahiMsAtmaka pravRtti ke kAraNa hI unakA dhanuSa pratyaMcAhIna pratIkamAtra rhaa| vaise vrAtyoMko bhI 'jyAhRd' kahA gayA hai aura usakA saMbaMdha isa prasaMgameM dhyAna dene yogya hai| bAIsaveM tIrthakara nemi aura vAsudeva kRSNa cacere bhAI the| nemi giranAra para tapasyAmeM pravRtta hue aura vahIM para mokSa prApta kiyaa| mahAbhAratakA kAla 1000 I0 pUrva mAnA jAtA hai aura vahI Annnnnnnnwwwwxnna1 Rgveda 7. 21.5 10. 99. 3 / 2 atharvaveda 20. 136. 11 / 3 Rgveda 1. 163. 8, 9. 14. 2 / 4 atharvaveda adhyAya 15 / 5 adhyAya 10 / Rgveda 8.6 1810. 72.7; taitarIya saMhitA 2.4.9.2, aitareya brAhmaNa 7. 28 / 7 tANDya brAhmaNa 14. 11. 28; 18. 1. 9 / Vide Indian Philosophy. I. Dr. S. Radhakrishnan. p. 287. uttarAdhyayana. a. 9 Voice of Ahimsa. Sept.-oct. 1958 (Dr. H. L. Jain's Article).

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jaina dharmakA prasAra : 11 samaya nemikA aitihAsika kAla mAnA jAnA cAhiye / vaidika vAGmaya meM vedase purANa taka ke sAhitya meM nemike ullekha dekhaneko milate haiM' / teIsaveM tIrthaMkara pArzvanAthakA janma banArasa meM huA thaa| unhoMne sammetazikhara para dakSiNa bihAra meM mukti prApta kI thI / unakA nirvANa I0 pU0 777 meM huA thaa| unakA dharma cAturyAmake nAma se prasiddha thA / pAli granthoM meM isake ullekha haiN| gautama buddhake cAcA bappa zAkya nirgratha zrAvakara the / ataH ve pArzvanAtha paraMparA ke hI upAsaka the| bhagavAna mahAvIra ke pitA bhI isI paraMparA ke anuyAyI the / isa prakAra bauddha dharma sthApanAke pUrva nirgrantha sampradAya kAphI sudRDha ho cukA thA aura vidvAn loga sarvasammati se pArzvanAthako aitihAsika puruSa mAnate haiN| unake kAlameM uttara pradeza, bihAra ityAdimeM jaina dharma supracalita thA yaha kahane kI AvazyakatA nahIM / mahAvIra kAla caubIsaveM aura antima tIrthaMkara mahAvIra hue, jinakA kauTuMbika saMbaMdha mithilA ke licchavi gaNataMtra aura vaizAlI se thA / unhoMne pUrvaparaMparAko eka adbhuta zakti pradAna kI thii| ve jJAtRvaMzake the aura vaizAlI unakA janmasthAna thA / unakA nirvANa pAvApurI meM I0 pUrva 527 meM huA thaa| unhoMne pArzvanAtha ke caturyAmoMko pA~ca vratoM meM bdlaa| unhoMne I0 pU0 chaThIM zatI ke dvitIya aura tRtIya pAdameM sthAna sthAna para bhramaNa karake apane upadeza diye the / unake dvArA jina pUrva aura pazcimI pradezoMmeM jaina dharmakA pracAra huaa| unake nAma isa prakAra haiM : pUrvameM aMga, baMga, magadha, videha tathA kaliMga; pazcimameM kAsI, kosala aura vatsa deza / magadha rAjA zreNika bimbisAra tathA kuNika ajAtazatrukA jaina dharmake sAtha jo saMbaMdha rahA vaha suvidita hai / vaizAlIke gaNa - pramukha ceTaka mahAvIra ke mAtRpakSa se saMbaMdhita the| gaNarAjya meM unakA sthAna aura prabhAva sarvopari thA / unakA riztA sindhu- sauvIrake rAjA udayana aura ujjainake rAjA caMDapradyota tathA kauzAmbI ke rAjA zatAnIka ke sAtha thA / isa prabhAva ke kAraNa una pradezoMmeM jaina dharma ke pracAra meM kAphI preraNA milI hogI / mahAvIra ke nirvANake avasara para licchavi aura mallakI rAjAoMkA vahAM para upasthita honA unake jaina dharmAnuyAyI hone kA pramANa hai / mahAvIrake pazcAt mahAvIrake pazcAt bhI magadha ke samrAToM ke sAtha jaina dharmakA acchA saMbaMdha rahA hai| ajAtazatrune vaizAlI gaNarAjyako chinnabhinna kara diyaa| kAsI - kosalakA magadha meM samAveza ho gyaa| aise vizAla magadha sAmrAjya ke nanda rAjAoM ke jaina honekA varNana AtA hai| isakI puSTi khAravelake zilAlekha se bhI hotI hai| Adi maurya samrAT candragupta bhadrabAhu ke ziSya bane the aura unhoMne samAdhimaraNa kiyA thA aisI bhI eka paraMparA hai / azoka bhI ArambhameM jaina the aura bAdameM bauddha ho gye| saMprati eka prabhAvazAlI jaina samrATa the / unake dharmapracAra ke kAraNa unheM jaina azoka kahA jAtA hai / mauryakAla ke pazcAt Age ke varSoMmeM bhArata meM jaina dharmakA prasAra kisa prakAra huA usakA sapramANa citra jainoM kI vibhinna vAcanAoMse sAmane AtA hai| I0 pU0 cauthI zatI meM prathama jaina vAcanA pATaliputra meM 1 bhAratIya saMskRti meM jaina dharmakA yogadAna pR. 19 / Vide-Jainism the Oldest Living Religion by J. P. Jain. p. 22. 2 aMguttara nikAya, catukkanipAta ( vagga. 5) /

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12 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha sthUlibhadra ke netRtvameM huyI thii| tatpazcAt IsAkI caturtha zatAbdImeM eka vAcanA skandilAcArya ke sabhApatitvameM mathurAmeM aura usI samama anya vAcanA nAgArjuna ke pramukhatvameM valabhImeM huyI thii| aMtima vAcanA devarddhi gaNike netRtvameM pAMcavIM-chaThI zatImeM phira valabhImeM huyI thii| eka paraMparAke anusAra bAraha varSIya durbhikSake kAraNa I. pU. cauthI zatAbdImeM bhadrabAhu bahuta bar3e munisamudAyake sAtha dakSiNa meM gaye the| ina varNanoMse spaSTa hai ki mahAvIrake pazcAt dUsarI zatIse jaina dharma kA pracAra pazcima aura sudUra dakSiNakI tarapha hone lagA thaa| sAtavIM zatIke cInI yAtrI hvenasAMgake varNanase yaha mAlUma hotA hai ki usa samaya meM vaizAlI meM nirgranthoMkI bahuta bar3I saMkhyA vidyamAna thii| digambara aura zvetAmbara sampradAyoM ke muni pazcimameM takSazilA aura digambara nirgrantha pUrvameM puNDavardhana aura samataTa (baMgAla) taka bhArI saMkhyAmeM pAye jAte the| isa prakAra usa samaya taka jaina dharma sAre uttara bhAratameM paryApta pramANameM pracalita ho gayA thaa| prAraMbhika saMghabheda mahAvIra tathA unake gaNadharoMke samayameM jaina saMghameM jo ekatA rahI vaha bAdameM vicchinna ho gyii| jaise jaise dharmakA pravAra vibhinna pradezoMmeM hotA gayA vaise vaise usameM taraha tarahake logoMkA samAveza hotA gyaa| samaya ke sAtha paristhitiyA~ bhI badalatI gyiiN| ina kAraNoMse saMghameM vibhedAtmaka pravRttiyA~ bar3hatI gayIM aura vibhinna gaNa, gaccha aura phirakoMkA prAdurbhAva hone lgaa| inameM sabase bar3A aura vikaTa bheda zvetAMbara-digaMbaroMkA huaa| zvetAMbaroM ke anusAra mahAvIrake 609 varSa pazcAt I0 sa082meM boTika arthAt digambara saMpradAyakI utpatti mAnI jAtI hai| digambaroM ke anusAra zvetAmbaroMkI utpatti I0 sa0 79meM mAnI gayI hai| donoM saMpradAyoMko mAnya yaha spaSTa bheda mahAvIra ke 600 varSa pazcAt IsAkI prathama zatAbdImeM huaa| vaise bhedake lakSaNa bahuta pUrvakAlIna pratIta hote haiN| mahAvIrake ziSya gautama aura pAcAraMparA ke zramaNa kezIkA saMvAda isI ora saMketa karatA hai, hAlAki kezIne mahAvIra ke siddhAntoMko apanA liyA thaa| isake pazcAt hameM sAta nihnavoMke saiddhAMtika bhedoM kA patA calatA hai| prathama nihnava jamAlI to mahAvIrakA samakAlIna thaa| usake pazcAt anya chaha nihnava hue jinakI kAlAvadhi mahAvIrake pazcAt 584 varSa takakI hI hai| siddhAntabheda hone ke kAraNa ve mahAvIrase alaga par3a gye| AThaveM nihnava boTikase digambara sampradAyako utpatti mAnI jAtI hai| mahAvIrake pazcAt kramazaH gautama, sudharmA aura jaMbUsvAmI donoM sampradAyoM ko samAna rUpase mAnya rahe haiN| unake pazcAt AcArya paramparAmeM bhinnatA A jAtI hai| zvetAmbaroM ke anusAra pATaliputrakI vAcanAmeM bhadrabAhu sammilita nahIM hue aura sthUlibhadrakI sahAyatAse hI vAcanA kI gyii| digaMbaroM ke anusAra akAla par3ane ke kAraNa bhadbAhu apane ziSya-samudAyake sAtha dakSiNakI tarapha cale gye| bAdameM lauTane para una logoMne dekhA ki uttarI kSetrake sAdhusamudAyameM paristhitivaza kAphI zithilatA A gayI hai| unako ye nayI pravRttiyoM svIkRta nahIM huyI aura isa prakAra sampradAyabheda prasphuTita ho gyaa| vAcanAmeM bhadrabAhakA zvetAmbaramatAnusAra zAmila nahIM honA bhI eka Apattijanaka muddA hI banA rahatA hai| isa kAraNase vAcanAmeM kucha kamI avazya hI rahI kyoMki unheM hI sirpha caudaha pUrvokA jJAna thaa| isa tarahase hama dekhate haiM ki samaya samaya para bhedAtmaka pravRttiyA~ sAmane AtI rahI haiM, paraMtu spaSTa bheda to I0 sa0 kI pahalI zatAbdImeM hI huA aisA donoM sampradAyoM kI mAnyatA se prakaTa hai aaaaaaan 1 zvetAmbaroM kI mAnyatA hai ki ve dhyAnArtha nepAla gaye the|

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jaina dharmakA prasAra : 13 zrutakI paraMparA maukhika rUpase A rahI thii| do-tIna vAcanAoM ke dvArA use samaya samaya para naSTa honese . bacAyA gyaa| antima vAcanA devaddhi gaNike sabhApatitvameM chaThI zatImeM valabhImeM huyii| usa samaya zrutako likhita rUpa diyA gyaa| isa likhita rUpase zvetAmbaroM aura digambaroMkI bhedabhAvanAko aura bhI zakti milii| isa prakAra uttarottara kAlameM yaha bheda prabala banatA hI gayA aura isake pala-svarUpa guruparaMparA bhI bhinna bhinna ho gayI tathA donoMkA sAhitya bhI alaga alg| zvetAmbara-digambara ke alAvA yApanIya nAmaka eka anya sampradAya bhI pracalita huA jo dakSiNa meM hI pnpaa| kahA jAtA hai ki dUsarI zatI meM eka zvetAmbara muni zrIkalazane kalyANa nagarameM yApanIya saMghakI sthApanA kii| yApanIyoMkA ullekha bAdakI kaI zatiyoM taka sAhitya aura lekhoMmeM hotA rahA hai| yaha saMgha zvetAmbara-digambarakA samanvaya rUpa thaa| isakA mukhya aDDA karnATakameM banA rhaa| pAMcavIM-chaThI zatI meM vaha vahAM para sudRDhatAse jama gayA thaa| digambara sampradAyakA vividha saMghoMmeM vibhAjana isa prakAra huA hai| unakA purAne meM purAnA mUla saMgha hai jisakI sthApanA dUsarI zatAbdImeM huyI thii| puSpadaMta aura bhUtabali ke gurU AcArya arhadbaline mUla saMghakI cAra zAkhAe~ sthApita kI thii| ve thI sena, naMdI, deva aura siNh| pAMcavIM zatImeM madurA (dakSiNa) meM vajanaM dine drAviDa saMghakI sthApanA kI thii| kumArasena munine sAtavIM zatIke antameM naMdItaTa grAmameM kASThA saMghako sthApita kiyaa| madurA(uttara)meM mAthura saMghakI sthApanA navIM zatIke anta meM rAmasena munine kI thii| bhillaka saMghakA ullekha bhI AtA hai| vindhyaparvatake puSkala nAmaka sthAnapara vIracandra munine dazavIM zatI ke prAraMbhameM isa saMghakI sthApanA kI thii| isase bhIloM dvArA jaina dharmako apanAnekA pramANa milatA hai| zvetAmbaroMmeM bhI kaI gacchoMkI utpatti huyii| gagadhara gautamake pazcAt paTTa-paramparA gaNadhara sudharmAne saMbhAlI thii| unakI paraMparAmeM chaThe AcArya yazobhadra hue| unake do ziSya the saMbhUtivijaya aura bhadrabAhu, jinase do bhinna ziSyaparaMparAe~ cliiN| saMbhUtivijayakI paraMparAmeM nAila, pomila, jayanta aura tApasa zAkhAe~ cala par3I tathA bhadrabAhukI paraMparAmeM tAmraliptikA, koTivarSikA, pauNDravardhanikA aura daasiikhbddikaa| sAtaveM AcArya ke ziSyoMkI paraMparAmeM terAsiya zAkhA tathA uttara balissahagaNa, uddehagaNa, cAraNagaNa, uDuvADiyagaNa, vesavADiyagaNa, mANavagaNa aura koTikagaNa sthApita hue aura unakA kaI zAkhAoM aura kuloMmeM vibhAjana huaa| . Ageke varSoM meM gacchoMkI sthApanA hone lgii| unameM se mukhya mukhya isa prakAra haiM : AThavIM zatAbdImeM udyotanasUrine vRhadgacchakI sthApanA kii| kharataragacchakA udbhava gyArahavIM sadI meM huaa|. bArahavIM zatImeM aMcalagacchakA prAdurbhAva huA aura isI zatImeM Agamika gacchakI sthApanA kI gyii| tapAgaccha 13 vIM zatI meM sthApita huA thaa| uttarakAlIna saMghabheda zvetAmbara-digambara bhedake kAraNa muniyoMke AcAra para kAphI prabhAva par3A tathA usameM bhedabhAva bddh'aa| bAdameM anya sampradAya, gaNa yA gaccha utpanna hue unameM itanA AcAra saMbaMdhI koI bhedabhAva nahIM hone paayaa| zvetAmbaroMmeM vastrakI mAtrA bar3hane lgii| pahale donoM sampradAyoMmeM tIrthaMkaroMkI nagna samAna rUpase pracalita thIM, paraMtu sAtavIM-AThavIM zatIse zvetAmbara mUrtiyoMmeM kopInakA cihna banAyA jAne lagA tathA mUrtiyoMko vastra va alaMkAroMse sajAnekI pravRtti bhI bar3ha gyii| isa kAraNa ina donoM ke mandira bhI alaga alaga ho gye| donoM sampradAyoMmeM eka aura pravRttine janma liyaa| sAmAnyataH varSARtu meM

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14 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha hI muniloga eka sthala para Thaharate the, paraMtu pAMcavIM chaThIM zatI se sthAyI rUpase kucha muni caityAlayoM meM Thaharane lge| isa kAraNa ve caityavAsI kahalAye aura bhramaNazIla muni vanavAsI / caityavAsiyoM meM AcArazithilatA A gayI aura dhIre dhIre maMdiroMmeM maThoM tathA zrIpUjyoM aura bhaTTArakoMkI gaddiyA~ sthApita huyI aura parigrahakI bhAvanAne jora pkdd'aa| eka sthAna para ThaharanekA kAraNa thA paThana-pAThana va sAhityaracanA meM suvidhA prApta karanA / isase eka lAbha avazya huA, aneka zAstrabhaMDAra sthApita hue| ye zAstra-bhaMDAra sAre bhArata meM phaile hue haiM, khAsa taura se gujarAta, rAjasthAna tathA maisUra meM / 15 vIM zatI meM mUrtipUjAvirodhI Andolana zurU huA aura zvetAmbaroMmeM alaga sampradAyoMkI sthApanA huyI / zvetAmbaroM meM loMkAzAhane isa matakI sthApanA kI aura vaha Age jAkara DhUMDhiyA aura sthAnakavAsI saMpradAya kahalAyA / isameM maMdiroMke bajAya sthAnaka aura AgamoMkI vizeSa pratiSThA hai| unako 32 Agama mAnya haiM tathA anya AgamoMko ve svIkAra nahIM karate 18vIM zatI meM AcArya bhikSune sthAnakavAsI sampradAyase alaga ho kara terApaMthI sampradAyakI sthApanA kI / / digambaroM meM tAraNa svAmIne tAraNa paMthakI sthApanA 16vIM zatI meM kI, jo mUrtipUjA kA niSedha karatA hai / anya sampradAyoMmeM 17vIM zatI meM terA paMtha aura 18vIM zatI meM gumAna paMthakI sthApanA huyI / unameM * bIsa paMtha aura toTA paMtha bhI pracalita hai| uttara bhArata meM jaina dharma jaina dharmakI mahAvIrake kAla taka prAcIna samaya meM kyA sthiti rahI tathA Age kisa prakAra ke saMbheda huye unakA varNana karaneke pazcAt aba bhArata ke vibhinna pradezoM meM jaina dharmakA AgAmI zatiyoM meM kisa prakAra prasAra huA usakA varNana kiyA jAyagA / bihAra bihAra ke sAtha jaina dharmakA sambandha itihAsAtIta kAlase rahA hai| kaI tIrthakaroMne usI pradeza meM janma liyA tathA bIsa tIrthaMkaroMkA nirvANa sammetazikhara para huaa| mahAvIra ke sthala sthala para vihAra karane ke kAraNa isa pradezakA nAma hI vihAra ( bihAra ) ho gyaa| vahA~se ur3IsA meM jAnekA rAstA mAnabhUma aura siMhabhUma se thA / ina do pradezoMkI sarAka jAti jaina dharmako avicchinna paraMparAkI dyotaka hai| mAnabhUma ke 'pacchima brAhmaNa' apaneko mahAvIra ke vaMzaja mAnate haiN| ve apaneko prAcInatama AryoMke vaMzaja mAnate haiM, jinhoMne ati prAcIna kAlameM isa bhUmi para paira rakhA thaa| ve vaidika AryoM ke pUrva isa tarapha Aye the| mAnabhUma aura siMhabhUma jiloMmeM jainAvazeSa kAphI saMkhyA meM prAcIna kAlase gyArahavIM zatI taka milate hai / samrATa khAravela ke kAlameM magadha meM phirase jaina dharmane jora pakar3A thaa| vaha gayA ke pAsa barAbara pahAr3I taka AyA thaa| zahAbAda meM sAtavIM se navIM zatAbdI taka ke purAtattva milate haiN| rASTrakUToM aura candeloMne bhI choTA nAgapura meM rAjya karate samaya jainoMke prati sahAnubhUti rakhI thI / gyArahavIM zatI meM rAjendra colane baMgAla se lauTate samaya mAnabhUmake jaina maMdiroMko dhvasta kiyA thaa| baMgAla mahAvIrane svayaM lADha ( rAdha - pazcimI baMgAla ) meM bhramaNa kiyA thA aura vahAM para logoMne unako kAphI satAyA thaa| pahale yaha anArya pradeza mAnA jAtA thA / paraMtu mahAvIrake prabhAvameM Aneke pazcAt ise bhI Arya deza mAnA jAne lgaa| prathama bhadrabAhukA janma koTivarSa (uttarI baMgAla) meM hI huA thA /

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jaina dharmakA prasAra : 15 bhadrabAhu ke cAra ziSyoMne jina cAra zAkhAoMkI sthApanA kI unake nAma baMgAlake sthAnIya nAmoM parase hI diye gaye haiM, jaise koTivarSikA, tAmraliptikA, pauNDavardhanikA aura daasiikhbddikaa| tatpazcAt guptakAlIna pAMcavIM zatIkA pUrvIbaMgAlameM pahAr3apurase eka tAmralekha milA hai jisameM jinamUrtikI pratiSThAkA ullekha hai| sAtavIM zatIke cInI yAtrI hvenasAMgane likhA hai ki baMgAla ke vibhinna bhAgoMmeM nirgrantha kAphI saMkhyAmeM vidyamAna the| pAlavaMzake rAjyakAlakI navIM aura dazavIM zatAbdiyoM ke AsapAsakI pracura mAtrAmeM jaina mUrtiyAM khudAI meM nikalI haiM jinase itanA to spaSTa hai ki usa kAlameM bhI jaina bastI vahA~ para kAphI mAtrAmeM vidyamAna thii| pAla rAjA svayaM bauddha dharmI the parantu anya dharmoM ke prati sahanazIlatA rakhate the| unake bAda senoM ke samayase jaina dharmakA vahA~ para hAsa hotA gyaa| ve kaTTara brAhmaNavAdI the| pichale karIba tIna sau varSoMse baMgAla meM jaina loga basane lage haiM paraMtu mUla baMgAlI jainoMkI koI avicchinna dhArA nahIM dikhtii|| ujjaina aura mathurA ujjaina ke rAjA aura gaNAdhipati ceTakake bIca mahAvIra ke kAlameM hI sambandha ho gayA thaa| usake pazcAta jaina dharmakI vahAM para kyA sthiti rahI spaSTataH nahIM kahA jA sakatA, paraMtu I0 pU0 kI prathama zatAbdI meM vahAM para jaina loga vidyamAna the yaha hameM gardabhilla aura kAlakAcArya ke kathAnakase spaSTa mAlUma hotA hai| guptakAlIna eka lekha ke anusAra udayagiri(vidizA-mAlavA)me pArzvanAthakI pratiSThA karAyI gayI thii| mathurAmeM prApta jaina purAtattva sAmagrIse yaha patA calatA hai ki I0 pU0 dvitIya zatAbdIse I0 sa0 10vIM zatAbdI taka yaha pradeza jaina dharmakA mahattvapUrNa kendra banA huA thaa| yahA~ ke lekhoMmeM kuSANa rAjAoM ke ullekha haiN| gupta rAjya-kAlake lekha bhI prApta hue haiN| hariguptAcArya to guptavaMzake hI puruSa the jo toramANa (chaThI zatI)ke guru the| mathurAmeM prApta prAcIna jaina stUpa koI koI vidvAn mahAvIrase bhI pUrvakA batalAte haiN| kahA jAtA hai ki isakI sthApanA supArzvanAthakI smRtimeM kI gayI thI aura pArzvanAthake samayameM isakA uddhAra kiyA gayA thaa| mathurAke paMcastUpoMkA ullekha jaina sAhitya meM AtA hai| yahIMse paMcastUpAnvaya bhI prAraMbha huA ho to asaMbhava nhiiN| gujarAta mathurAke sAtha valabhImeM cauthI zatI ke prathama pAdameM nAgArjunIya vAcanA tathA gujarAtake giranAra parvatake sAtha dharasenAcArya aura puSpadanta tathA bhUta bali(SaTakhaMDAgamake racanAkAra)ke saMbandhase yaha pratIta hotA hai ki isa pradezake sAtha jaina dharmakA saMbaMdha IsAkI prathama zatAbdiyoMse hai| isase pUrva bhI jaina dharmakA isa pradezake sAtha saMbaMdha rahA hai| bhagavAna neminAthakI caryA aura mukti saurASTra ke sthaloMse hI jur3I huyI hai| valabhIkI dvitIya tathA antima vAcanAse suspaSTa hai ki pA~cavIM-chaThI zatI meM jaina dharma isa pradezameM kAphI sudRr3ha ho gayA thaa| sAtavIM zatIke do gUrjara narezoMkA isa dharmase anurAga thA aisA unake dAnapatroM se siddha hotA hai| vanarAja cAvaDA-rAjavaMza ke saMsthApaka the| unase jaina dharmako yahA~ para protsAhana milaa| mUlarAjakA banAyA huA aNahilavAr3akA jaina maMdira Aja bhI vidyamAna hai| rAjA toramANake guru hariguptAcAryake praziSya zivacandra ke aneka ziSyoMne gujarAtameM jaina dharmakA pracAra kiyA tathA aneka jaina mandira bnvaaye| solaMkI rAjA bhImake maMtrI vimalazAhane 11vIM zatImeM AbU para jo maMdira banavAyA vaha apanI kalAke lie jagatprasiddha hai| unhoMne hI candrAvatI nagarI basAyI thii| isase rAjA bhIma kI jaina dharmake

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16 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha prati kitanI sahAnubhUti rahI hogI yaha prakaTa hotA hai| siddharAja aura kumArapAlake samayameM to jaina dharmakA yahAM para suvarNayuga rhaa| usI samaya hemacandrAcArya ke kAraNa jaina dharmakI jo sevA hayI usakA prabhAva sadAke lie raha gayA aura gujarAta jaina dharmakA eka balazAlI aura samRddha kendra bana gyaa| 13vIM zatI meM vastupAla aura tejapAla nAmaka zreSThibaMdhuoMne AbU para eka maMdira banavAyA jo apanI kalAke lie advitIya hai| zatrujaya aura giranAra ke tIrthakSetroMko bhI alaMkRta karanemeM aneka seThoM aura rAjAoMkA yoga dAna rahA hai| khaMbhAtakA ciMtAmaNi pArzvanAtha maMdira bhI 12vIM zatImeM banavAyA gayA thA aura terahavIM zatIke antameM isakA jIrNoddhAra kiyA gayA thaa| rAjasthAna ke aneka dharmAnuyAyiyoMne dAna dekara isa maMdirakI samRddhi baDhAyI hai| terahavIM zatImeM dAnavIra zeTha jagaDUzAha hue| ve kaccha pradezake rahane vAle the| unhoMne giranAra aura zatrujaya girikA saMgha nikAlA thaa| ve garIboMko kAphI Arthika sahAyatA karate the aura eka bhArI duSkAlameM rAjA vIsaladevake kAlameM unhoMne AsapAsake rAjAoMko sahAyatA karake prajAko bhUkhase maranese bacAyA thaa| pethar3azAha bhI isI samayake AsapAsa hue the| pandrahavIM zatIkA samaya somasundara-yuga kahA jAtA hai| AcArya somasundarane jaina dharmakI prabhAvanAke lie jainoMko kAphI protsAhita kiyA thaa| pandrahavIM zatImeM hI lokAzAhane sthAnakavAsI sampradAyakI sthApanA kI thii| solahavIM zatImeM hIravijayasUri jaisI eka mahAna vibhUtikA janma pAlanapurameM huA thaa| unakA akabara para acchA prabhAva par3A thA jisase jaina dhArmika utsavoM ke dinoM meM pazuhiMsA-niSedhake pharamAna bAdazAhane jArI kiye the| solahavIM zatI jainoMmeM hairaka yugake nAmase prasiddha hai| rAjasthAna - rAjasthAnameM jaina dharmakA astitva maurya kAlase pUrvakA pAyA jAtA hai| ajamerake nikaTa bar3alI (nagarI)se jo zilAlekha milA hai vaha bhAratakA prAcInatama lekha hai| usameM mahAvIra nirvANake 80 ve varSakA ullekha hai| isa prakAra I. pU. pAMcavI, zatI meM vahAM para jaina dharma vidyamAna thaa| citaur3a ke pAsa madhyamikA nAmaka jo sthAna hai usake nAmase I0 pU0 tRtIya zatImeM eka munizAkhAkI sthApanAkA ullekha jaina sAhityameM milatA hai| mAlavAmeM kAlikAcArya ke dvArA zakoM ke lAnekA ullekha hai| usa samaya arthAt I0 pUrva prathama zatAbdImeM rAjasthAnakA dakSiNI pUrvI bhAga mAlavAmeM zAmila thaa| IsAke pUrva aura pazcAtakI eka-do zatAbdiyoMmeM mathurA meM jaina dharma bahuta sudRr3ha thaa| isake AdhArase yaha mAnA jAtA hai ki usa samaya rAjasthAna ke uttara-pUrvI bhAgameM bhI jaina dharma pracalita hogaa| bundIke pAsa kezorAyapaTTanameM jaina maMdirake bhagnAvazeSoMkI saMbhAvanA pAMcavIM zatIkI kI jAtI hai| sAtavIM zatI meM hvenasAMgake varNanase bhinnamAla aura vairATameM jainoMkA astitva prakaTa hotA hai| vasantagaDha(sirohI)meM RSabhadevakI dhAtu kI mUrti para chaThI zatIkA lekha vidyamAna hai| AThavIM zatIke haribhadrasUri cittaur3a ke nivAsI the| vIrasenAcAryane SaTakhaMDAgama tathA kaSAyaprAmRta elAcAryase 8 vIM zatI meM cittaur3ameM hI sIkhA thaa| isI zatImeM udyotanasUrine AbU para bRhadgacchakI sthApanA kI thii| ___ rAjapUta rAjA mukhyataH viSNubhakta aura zaiva the phira bhI jaina dharma ke prati unakA sauhArda hamezA banA rahA hai| pratihAra rAjA vatsarAja (8 vIM zatI)ke samayakA osiyAkA mahAvIrakA mandira Aja bhI vidyamAna hai| maMDorake rAjA kakkukane navIM zatImeM eka jaina maMdira banavAyA thaa| koTAke pAsakI jaina

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jaina dharmakA prasAra : 17 guphAe~ 8vIM-9vIM zatIkI haiM tathA 8vIMse 11vIM zatI ke jIrNa maMdira bhI dekhaneko milate haiN| AghATa(udayapura)kA pArzvanAtha-maMdira eka maMtrI ke dvArA 10vIM zatImeM banavAyA gayA thaa| siddharSi usI zatImeM zrImAlameM janme the| lodoravA(jaisalamera)meM rAjA sAgarake putroMne pArzvanAthakA maMdira banavAyA thaa| paramArakAlIna 10vIM zatImeM AbUke rAjA kRSNarAjake samayameM diyAnA(sirohI)meM eka jainamUrtikI sthApanA kI gayI thii| usI samayake hathaMDI(bIjApura)ke rAThaur3oMse jaina dharmako sahAyatA milane ke ullekha haiN| vidagdharAjane to eka jaina maMdira banavAyA thaa| chaThIMse bArahavIM zatI taka zUrasenoMkA rAjya bharatapura para thA aura usa samayake kucha rAjA jaina the| isa kAlameM vahAM para bahutasI pratiSThAe~ huyiiN| alavara ke maMdiroM ke zilAlekha 11vIM-12vIM zatI ke gUrjara pratihAroMke kAlake prApta hote haiN| cauhAna pRthvIrAja prathamane 12vIM zatI ke prArambhameM raNathaMbhaurake jaina maMdiroMpara suvarNakalaza caDhAye the| usake vaMzajoMkA bhI jaina dharma ke prati sauhArda banA rhaa| bIsaladevane ekAdazIko katalakhAne baMda karavA diye the| jinadattasUri bArahavIM zatImeM hue the| unakA svargagamana ajamera meM huA thaa| ve marudhara ke kalpavRkSa mAne gaye haiN| pRthvIrAja dvitIyane pArzvanAtha mandirakI sahAyatA ke lie bijoliyA nAmaka gA~va dAna meM diyA thaa| vanarAja cAvaDAne bhinnamAlase jainoMko bulAkara pATanameM basAyA thaa| hemacandra ke kAla meM rAjasthAna meM bhI jaina dharmane kAphI pragati kii| solaMkI kumArapAlane pAlI (jodhapura)ke brAhmaNoMko yajJameM mAMsake badale anAjakA upayoga karane ke lie bAdhya kiyA thaa| usane jAlaura meM eka jaina maMdira banavAyA thaa| AbUke jaina maMdira bhI usIke kAlameM bane the tathA sirohIkA DabAgI gA~va unakI sahAyatArtha dAnameM diyA gayA thaa| sevADIke zilAlekhoMse mAlUma hotA hai ki vahA~ke rAjagharAne 10vIMse 13vIM zatI taka jaina saMsthAoMko sahAyatA karate rheN| isI prakAra nADaula, nADalAI aura sAMDerAvakI jaina saMsthAoMko bhI madada milatI rhii| kumArapAlake adhIna nADolake cauhAna azvarAjane jaina dharma svIkAra kiyA thaa| 12vIM-13vIM zatiyoMmeM jAlaurake jainoMko vahAM ke sAmantoMse sahAyatA milaneke lekha vidyamAna haiN| mevAr3akI eka rAnIne 13vIM zatImeM cittor3ameM pArzvanAthakA mandira banavAyA thaa| isI zatImeM jagacandrasUriko mevAr3a ke rANAne tapAkI padavI dI thI aura unakA gaccha tapAgaccha khlaayaa| bArahavIMse caudahavIM zatI meM jhAr3olI, candrAvatI, dattAnI aura diyANA(sirohI jilA)ke mandiroMke lie bhUmidAnake lekha milate haiN| kAlandrI(sirohI ke pUre saMghane 14vIM zatI meM aicchika maraNako apanAyA thaa| jinabhadrasUrine 15vIM zatImeM jaisalamerameM bRhajJAnabhaNDAra sthApita kiyA thaa| rAjasthAnameM zAstrako surakSita rakhanekA tathA usakI aneka pratiyA~ karavAnekA zreya inhIM ko hai| 15vIM zatImeM rANA kumbhAne sAdaDI meM eka jaina maMdira banavAyA thaa| unhIM ke kAlameM jaina kIrtistambha cittaur3a ke kilemeM banA thaa| rANakapurakA jaina maMdira bhI usI samaya kI racanA hai jo sthApatya kalAkA eka atyanta suMdara namUnA hai| rANA pratApane to hIravijayasUriko mevAr3a meM bulAyA thaa| akabara ke pAsa jAte samaya ve sirohImeM Thahare the aura unheM sUrikI padavIse vahAM para hI vibhUSita kiyA gayA thaa| zvetAmbara lokAgacchake prathama veSadhArI sAdhu bhANA the jo araThavAr3A(sirohI) ke rahane vAle the| ve 1476meM sAdhu bane the| terApaMthake pravartaka bhIkamajI bhI mevAr3a ke hI the jo 18vIM zatI meM hue / 17vIM zatImeM auraMgajebake kAlameM koTAmeM kRSNadAsane eka jaina maMdira banAkara baDI himmata

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18 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha dikhAyI aura jainoM ke prabhAvakA acchA paricaya diyaa| samayasundara 16vIM-17vIM sadI meM he| ve rAjasthAnIke agralekhaka mAne gaye haiN| digambara terApanthake saMsthApaka amaracanda sAMgAnerake the, jinakA kAla 17vIM zatIkA hai| 18vIM zatImeM jayapura ke gumAnI rAmane gumAnapaMtha kI sthApanA kI thii| pandrahavIM zatIse unnIsavIM zatI taka rAjasthAna meM jaina dharmakA jo prabhAva rahA vaha saMkSepameM isa prakAra aMkita kiyA jA sakatA hai: sthala-sthala para mandira banavAnA, pratiSThAeM karanA, rAjapuruSoMse anudAnake rUpameM jamIna prApta karanA ityAdi; stUpa, stambha, pAdukAoM tathA upAzrayoM kI sthApanA aura mandiroMkA jIrNoddhAra krnaa| isI kAlameM rAjasthAnI aura hindIke kaI sAhityakAra bhI hue| jayapura ke kachavAhoM ke adhIna karIba 50 dIvAna jaina the, jinake kAraNa jaina dharmako sabhI kSetroMmeM protsAhana milaa| muslima AkramaNake kAraNa jaina mandiroMkI masjideM bhI banAyI gyiiN| 12vIM zatIkA ajamerakA aDhAI dinakA jhopar3A va sAMcaura aura jAlaurakI masjideM jaina mandira hI the| jIrAvalA pArzvanAtha maMdirako bhI isI prakAra kSati huyii| 16vIM zatImeM bIkAnerake mandira para bhI AkramaNa huA thaa| koTAke zAhabAdameM isI prakAra auraMgajebane eka masjida banAyI thii| rAjakAraNameM jainoMke yogadAnake bhI kaI udAharaNa prApta haiN| kumArapAlake rAjyakAlameM vimalazAha AbUke pratinidhi the| jAlaurakA udayana khambhAtakA rAjyapAla thaa| 16vIM zatI ke vIra tejA gadahIyA ne jodhapurakA rAjya zerazAhase rAjA mAladevako vApisa dilavAyA thaa| dIvAna muhaNota nainasI, ratnasiMha bhaMDArI, ajamerake zAsaka dhanarAja aura kUTanItijJa indrarAja siMdhIke nAma bhI ullekhanIya haiN| karamacanda bIkAnareke rAjA kA eka daNDanAyaka thaa| mevAr3a ke AzAzAhane udayasiMhako zaraNa dI thii| bhAmAzAha rANA pratApake dIvAna the jinhoMne pratApako Apatti kAlameM adbhuta sahAyatA kI thii| 11vIM zatIke Amerake dIvAna vimaladAsa yuddha meM lar3ate lar3ate mare the| dIvAna rAmacandrane Amerako mugaloMse vApisa liyA thaa| unakA nAma sikkoM para bhI chA thaa| isa prakAra yaha sAbita hotA hai ki hindU rAjAoMke adhIna hote hue bhI rAjasthAna meM jainoMkA prabhAva aura pracAra rAjapUta kAlameM kAphI bar3hA car3hA thA aura usI paraMparAke kAraNa rAjasthAna meM aba bhI jaina matake anuyAyI kAphI saMkhyAmeM pAye jAte haiN| dakSiNa bhAratameM jaina dharma uttara bhAratameM akAla par3a jAne ke kAraNa bhadrabAhu apane vizAla munisaMghake sAtha zravaNa belagolA gye| maurya rAjA candraguptane unake hI ziSyatvameM vahAM para samAdhimaraNa kiyA thaa| paraMparAse yaha bhI jAnakArI milatI hai ki bhadrabAhune apane ziSya vizAkha muniko Age dakSiNameM cola aura pANDya dezoMmeM dharmapracArArtha bhejA thaa| isa ghaTanAke bala para bhadrabAhuko dakSiNa dezameM jaina dharma ke prathama pracArakakA zreya diyA jAtA hai| paraMtu eka vicAraNIya prazna yaha hai ki yadi bhadrabAhu ke pUrva usa pradezameM jainiyoMkA bilkula abhAva thA to itane bar3e munisaMghane kina logoM ke AdhAra va Azraya para akasmAta eka aparicita dezameM jAne kI himmata kI hogii| mAlUma hotA haiM ki unake pahale bhI vaha parAM jaina dharma vidyamAna thA aura unake pramANa bhI milate haiN| azokake samaya meM bauddha dharmakA pracAra laMkAmeM unake putra-putrI dvArA prAraMbha kiyA gayA thA, paraMtu jaina dharmakA pracAra to usake pahale hI laMkAmeM ho cukA thaa| ajaina sAhitya isakA sAkSI hai| pAli mahAvaMza tathA dIpavaMzake anusAra pANDukAbhaya ke rAjyakAlameM anurAdhapura meM nirgranthoMke lie nivAsasthAna banAye gaye the| vaha kAla I0 pU0 pAMcavIM-zatIkA hai| itane prAcIna kAlameM laMkAmeM jaina dharma

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jaina dharmakA prasAra : 19 kahA~se pahu~cA hogaa| isakA uttara khojate samaya svAbhAvika taurase yahI kahanA par3atA hai ki I0 pUrva pAMcavIM aura cauthI zatImeM kaliMga-Andhra tathA tAmila dezase hotA huA vaha laMkAmeM AyA hogaa| ataH bhadrabAhu dakSiNa dezameM jaina dharma ke Adi pravartaka nahIM varan usako punaH jAgrata karane vAle the| jisa prakAra eka dhArA Andhra dezase dakSiNa dezameM gayI usI prakAra bhadrabAhuke kAlase dUsarI dhArA karnATakase dakSiNa dezako jaina dharmase AplAvita karatI rhii| isa dhArAkA IsAkI prathama 10-12 zatAbdiyoM taka dakSiNameM avicchinna srota bahatA rahA hai| vahA~ke aneka dhvaMsAvazeSoM, maMdira va mUrtiyoMse yahI siddha hotA hai ki yaha dharma vahAM para lokapriya rahA hai| pUre ke pUre rAjavaMzoM ke sAtha isakA jisa prakArakA dIrghakAlIna saMbaMdha rahA hai vaisA uttara bhAratameM bhI nahIM rhaa| isa dRSTise dakSiNa dezake prAcIna itihAsameM jaina yugoM ke darzana kiye jA sakate haiN| dravir3a pradeza candragupta ke prapautra sampratine jainadharma ke pracArameM jo yoga diyA thA usake kAraNa tAmila (drAvir3a) dezameM bhI jaina dharma ko bala milA thA aisA sAhityika paraMparA batalAtI hai| isa prasaMgameM I0 pU0 dUsarItIsarI zatI ke brAhmI lipike zilAlekha tathA IsAkI cauthI-pAMcavIM zatIkI citrakArI ullekhanIya hai| rAmanada (madurA), tinnAvalI aura sitanavAsalakI guphAoMmeM uparyukta jaina pramANa milate haiM, jinase mAlUma hotA hai ki ye sthala jaina zramaNoM ke kendra the| IsAkI karIba 15 zatAbdiyoM taka jaina dharmane tAmila logoMke sAhitya aura saMskRti ke sAtha gaharA saMbaMdha banAye rakhA hai| IsAkI prathama zatAbdiyoMmeM tAmila dezake sAhitya para jainoM kA prabhAva to suspaSTa hai| tAmila kAvya kurala aura tolakAppiyama isa prasaMgameM ullekhanIya hai| kuralake pazcAtkA adhikatara ziSTa sAhitya (Classical) jainoM ke AzrayameM hI phalA phuulaa| pAMca prAcIna mahAkAvyoMmeMse tIna kRtiyAM to jainoMkI haiN| sIlappadikAram (dUsarI zatI), balayApadi aura cintAmaNi (10vIM zatI) ye tIna jaina grantha haiN| anya kAvyoMmeM nIlakezI, bRhatkathA, yazodhara kAvya, nAgakumAra kAvya, zrIpurANa AdikA nAma liyA jA sakatA hai| bauddha kAvya maNimekala ise bhI prAcIna kAlameM tAmila deza para jainoMke prabhAva aura vaibhavakA kAphI digdarzana hotA hai| kuralake anusAra mailApura tathA mahAbalipuramameM jainoMkI bastiyAM thiiN| dUsarI zatImeM madurA jaina dharmakA mukhya kendra thaa| samantabhadrakA isa nagarIse jo saMbaMdha rahA hai vaha suvidita hai| pAMcavIM zatImeM hI vajranandIne yahAM para drAviDa saMghakI sthApanA kI thii| kAMcI pradezake cauthIse AThavIM zatI takake pallava rAjAoMmeM bahuta-se jaina the| hvenasAMgane sAtavIM zatI meM kAMcIko jainoMkA acchA kendra mAnA hai| sAtavIM-AThavIM zatIke jaina zilAlekha ArakoTake pAsa paMcapAMDava malaya nAmaka pahAr3I para prApta hue haiN| pAMcavIM zatIke pazcAt kalabhra rAjAoMkA adhikAra pANDya, cola aura cera rAjyoM para ho gayA thaa| yaha jainoMkA utkRSTa kAla thA kyoM ki kalabhra rAjAoMne jaina dharma apanAyA thaa| isI samaya jaina nAladiyArakI racanA huI thii| isa prakAra pAMcavIMse sAtavIM zatAbdI taka jainoMkA rAjanIti para bhI kAphI prabhAva banA rhaa| mahAn tArkika akalaMkAcArya AThavIM zatImeM hI hue the| tatpazcAt zaiva aura 1 Studies in South Indian Jainism. I. p. 33. & Jainism in South India. pp. 28, 31, 51, 53.

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20 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha vaiSNava matoMke pracArase jaina dharma avanatikI ora agrasara hone lgaa| sAtavIM zatIkA pallava rAjA mahendravarmA jaina thA, paraMtu bAdameM zaiva ho gyaa| pANDya rAjA sundara pakkA jainI thA, paraMtu usakI rAnI aura mantrI zaiva the unake kAraNa tathA zaiva bhaktakavi sambandarake prabhAvase vaha zaiva ho gyaa| zaiva nAyanAroMke kAraNa sAtavIM-AThavIM zatIse jaina dharmako kAphI dhakkA phuNcaa| - AThavIM zatIse vaiSNava alvAroMne bhI jainoMkA jabaradasta virodha karanA zurU kara diyA thaa| phira bhI 8vIM se 12vIM zatI takake rAjAoMne niSpakSa bhAvase jainoMke prati sahAnubhUti bhI bartI thii| sitannavAsalameM 8vIM-9vIM zatAbdIke jaina zilAlekha tAmila bhASAmeM prApta hote haiN| navIM zatI meM TrAvanakorakA tirucchA najhumalai zramaNoMke parvatake rUpameM vikhyAta thaa| 10vIM-11vIM zatI meM cola aura pANDya dezoMmeM sarvatra jaina loga vidyamAna the| 13vIM zatImeM uttara ArakoTameM jainoMke astitvake bAremeM acche pramANa milate haiN| tirumalai sthAnake 10vIM-11vIM aura 14vIM zatI takake zilAlekhoMse mAlUma hotA hai ki vaha usa samayameM jaina kendra banA huA thaa| 15vIM-16vIM zatIkA bar3Ase bar3A kozakAra maMDalapuruSa huA jisane nighaMTU cUDAmaNikI racanA kii| Andhra pradeza (pUrvakAlIna dakSiNa ur3IsA, kaliMgAdi) kaliMga deza(tosali)meM svayaM mahAvIra gaye the| nanda rAjAoMke samaya meM kaliMga-ur3IsAmeM jainoMkA kAphI pracAra ho cukA thaa| khAravela ke samaya I0 pU0 dasarI zatI meM yahA~ para jaina dharmako bahata protsAhana milA kyoMki ve svayaM jaina the| yahAMke udayagiri-khaNDagirikI guphAoMmeM 10vIM zatI takake jaina zilAlekha milate haiN| sAtavIM zatImeM hvenasAMgane kaliMga dezako jainoMkA gar3ha batAyA hai| usake bAda solahavIM zatAbdImeM bhI usa kSetra ke rAjA pratApa rudradevake jaina-sahiSNu honeke ullekha haiN| samrATa sampratike dvArA Andhra pradezameM jaina dharmako phailAne ke ullekha jaina sAhityameM Ate haiN| IsAkI dUsarI zatI meM kuDApAmeM siMhanaMdiko do rAjakumAra mile the jinhoMne karnATakake gaMgavaMzakI sthApanA kI thii| ataH usa samaya isa pradezameM jaina dharma kAphI pracalita hogaa| kAlakAcArya ke kathAnakase rAjA sAtavAhana hAlakI jainadharmake prati sahAnubhUti honekI jhalaka milatI hai| pUjyapAdake pAMcavIM zatImeM Andhra jAneke ullekha milate haiN| pUrvI cAlukyoMne sAtavIM zatImeM isa pradezameM jaina dharmako pragati pradAna kI thii| usa samaya vijayAnagara ke pAsa rAmatIrtha jainoMkA kendra banA huA thaa| Andhra ke komaTI eka samRddha vaNika jAti hai| ve maisUrase idhara Aye the| gomaTezvarake bhakta hone ke kAraNa gomaTIse ve komaTI kahalAne lge| ___ AndhrameM jaina sAhitya ucita mAtrAmeM upalabdha nahIM huA hai| mAlUma hotA hai, vaha naSTa kara diyA gayA hai| kyoMki purAne meM purAne telagu mahAbhAratameM nannaya bhaTTanene apane pUrvake lekhakoMkA smaraNa kyoM nahIM kiyaa| isakA kAraNa yaha hai ki usake pUrvake kavi jaina the| isake atirikta karnATaka ke pampa aura nAgavarma jaise bar3ese bar3e kavi yA to Andhra dezake the yA vahAM se sambandhita the| isalie AndhrameM jaina sAhityakI racanA avazya huyI hogI jaisA ki tAmila aura kannaDa bhASAoMmeM srajana huA hai| saMskRta jainendra kalyANAbhyudayakI racanA 14vIM zatI meM veraMgala-ayyapAryake dvArA kI gayI thii| karnATaka bhadrabAhuke zravaNa belagola jAnekA ullekha Upara kara Aye haiN| vahIM para samrATa candraguptane samAdhimaraNa prApta kiyA thaa| usa samayase jaina dharmakA praveza isa pradezameM ho cukA thaa|

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jaina dharmakA prasAra : 21 IsA kI dUsarI zatAbdIse terahavIM zatI taka jainadharma karnATakakA pradhAna dharma banakara rahA hai| vahA~ ke janajIvana, sAhitya, saMskRti, kalA aura darzana para isa dharmakA jo nAnA kSetriya prabhAva hai vaha advitIya hai| bar3e bar3e rAjA-mahArAjA, sAmanta, zreSThi aura yahA~ taka ki sAmAnya prajAmeM isa dezake kone kone meM jaina dharma ke pracalita honeke pramANa milate haiN| tAmila sAhitya aura bhASAke uddhAra aura vikAsameM jainoMne jo yoga diyA usase bhI adhika kannaDa bhASA aura sAhityake vikAsameM jainoM kI vizeSa dena rahI hai| isa sAhityake kisI bhI vibhAga jaise Agama, purANa, siddhAnta, kAvya, chandaHzAstra, vyAkaraNa, nItizAstra, bhUgola, gaNita, saMgIta ityAdiko jainoMne achUtA nahIM rkhaa| jaina kannaDa sAhityakI zailIkA prabhAva Andhra deza para bhI par3e binA nahIM rhaa| dvitIya zatI meM gaMgavaMzakI sthApanA karanemeM jaina AcArya siMhanaMdIkA pramukha hAtha rahA hai| mAdhava konaguNivarmA isa vaMzake Adi saMsthApaka hue| pAMcavIM zatI ke pUjyapAda durvinItake rAjaguru hone ke ullekha milate haiN| zivamAra, zrIpuruSa, mArasiMha ityAdi narezoMne aneka jaina mandira banavAye tathA muniyoMko dAna diyaa| mArasiMha(10vIM zatI)ne to jaina samAdhimaraNa kiyA thaa| vAdi dhaMgala isI zatIke tArkika the| rAcamalla(caturtha)ke maMtrI cAmuNDarAyane gomaTezvarakI jo vizAla aura adbhuta mUrti banavAyI vaha apanI kalAke lie jagadvikhyAta hai| cAmuNDarAya para nemicandra siddhAntacakravartIkA prabhAva ullekhanIya hai| isa vaMza ke aneka rAjA tathA unake sAmanta, maMtrI aura senApatiyoMne jaina dharmake vividhamukhI kAyoMmeM yogadAna diyaa| gaMga mahAdevI, paMpAdevI, lakSmImatI ityAdi rAjamahilAoM ke nAma isa prasaMgameM lene yogya haiN| gaMgoMkI samastike bahuta pahale hI kadamboM aura rASTrakUToMne jaina dharmako apanA liyA thaa| vanavAsI ke kadamboMmeM brAhmaNa dharma pracalita thA phira bhI kucha rAjA jainadharmI the| unameM cauthI zatIke kAkasthavarmAkA nAma ullekhanIya hai| pAMcavIM zatIke zrIvijaya zivamRgeza varmA aura zrImRgeza dvArA jainoM ke zvetAmbara, nirgrantha, yApanIya aura karcaka Adi saMghoMko alaga alaga bhUbhidAna karaneke zilAlekha prApta hote haiN| harivarmA, ravivarmA, devavarmA ityAdike dvArA bhI samaya sapaya para mandiroM va saMghoM ke lie gA~va aura bhUmidAna karaneke ullekha milate haiN| isa prakAra isa pradezameM cauthIse chaThIM zatI taka jaina dharma lokapriya rahA aura rAjya-sammAna prApta karatA rhaa| sAtavIM zatIse rASTakaToMkA kAla prAraMbha hotA hai| isa vaMzake sAtha jainoMkA bahata nikaTakA saMbaMdha rahA hai| dantidurga khaDgAvalokane AThavIM zatImeM akalaMka devako sammAnita kiyA thaa| amoghavarSa prathamake guru jinasena the jinhoMne AdipurANa likhA hai| unakI praznottararatnamAlikAse pratIta hotA hai ki unhoMne rAjya tyAgakara jaina dIkSA grahaNa kI thii| unakI eka anya racanA kannaDameM alaMkArazAstra para pAyI jAtI hai| zAkaTAyana vyAkaraNa para amoghavRtti nAmaka TIkA inake hI nAma para AdhArita hai| dazavIM zatImeM jakiyabbe eka vIrAMganA tathA saphala zAsanakI thI, jisane samAdhimaraNa kiyA thaa| isa vaMzake anya rAjAoMkI jaina dharma para mahatI zraddhA rahI hai| guNabhadra, indranandi, somadeva, puSpadanta, ponna ityAdi kaviyoMkA AvirbhAva inhIM ke kAlameM huA thaa| rASTrakUToMkI rAjadhAnI mAnyakheTa jainoM kA kendra bana gayA thA kyoMki isa vaMzake rAjAoMkA isa dharmake prati viziSTa prema rahA hai| antima rAjA indra caturthane zravaNabelagolAmeM bhadrabAhukI taraha samAdhi-maraNa kiyA thaa| rASTrakUToMke pazcAt punaH pazcimI cAlukyoMkA karnATaka para adhikAra ho gayA thaa| paraMtu isake pUrva bhI cAlukyoMkA jaina dharmake prati prema banA huA thaa| aiholakA ravikIrtikA zilAlekha apanI kAvyAtmaka

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22 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava prantha zailIke lie prasiddha hai| yaha sAtavIM zatIke pulakezI dvitIyake samayakA hai| usa sthAnakA meghuTI mandira ravikIrtine banavAyA thaa| bAdAmI aura aiholakI jaina guphAoMkI racanA isI samayameM huyI thii| pazcimI cAlukya vaMzake saMsthApaka tailapa dvitIya(10vIM zatI)ko jaina dharmake prati acchI AsthA thii| isI ke AzrayameM kaviratna raNane ajitapurANa kannaDa bhASAmeM likhA thaa| dazavIM zatIkI eka senAnAyakakI putrI attimabbe apanI dAnazIlatAke lie ullekhanIya hai| 11vIM zatImeM bhI isI prakArakA sahArA jainoMko milatA rhaa| vAdirAjakA pArzvanAthacarita usI samayakA hai| zrIdharAcAryakI jyotiSaviSayaka kRti kannaDameM sabase purAnI racanA hai, jo somezvara prathama ke samaya meM racI gayI thii| isa vaMzake anya rAjAoMne bhI jainadharmakI unnati ke lie paryApta sahAyatA kii| isa prakAra yaha rAjavaMza jaina dharmakA saMrakSaka rahA tathA sAhityasRjanameM isane kAphI protsAhana diyaa| jaina mandiroM aura saMsthAoMko dAnake jariye inake dvArA bala milatA rhaa| hoyasala rAjavaMzako 11vIM zatI meM saMsthApita karanekA zreya eka jaina muniko hI hai| muni vardhamAnadevakA prabhAva vinayAditya ke zAsana prabandha para kAphI banA rhaa| kitane hI anya rAjAoM ke dvArA jaina saMsthAoM ko lagAtAra sahAyatA milatI rahI hai| kucha rAjAoMke guru jainAcArya rahe haiN| 12vIM zatIke nareza viSNuvardhana pahale jaina the parantu bAdameM rAmAnujAcArya ke prabhAvameM Akara viSNu dharma svIkAra kiyaa| usa samayase viSNu dharmakA prabhAva bar3hatA gayA, phira bhI zilAlekhoMse unakA jaina dharmake prati prema jhalakatA hai| unakI rAnI zAMtaladevIne to Ajanma jaina dharmakA pAlana kiyaa| viSNuvardhana ke kaI senApati aura maMtrI jaina dharmake uddhAraka bane rheN| gaMgarAja, unakI patnI lakSmImatI, boppa, mariyAne, bharatezvara Adi isa saMbaMdhameM ullekhanIya haiN| usake bAda narasiMha prathama, vIra ballAla, narasiMha tRtIya tathA aneka rAjAoMne jaina maMdira banAye, dAna diyA tathA jaina dharmako samRddhizAlI bnaayaa| isa prakAra bArahavIM-terahavIM zatI taka jainoM kA acchA prabhAva rahA hai| narasiMha prathamake cAra senAnAyaka tathA do maMtrI jaina the| vIra ballAlake zAsanameM bhI kitane hI jaina maMtrI aura senAnAyaka the| inake alAvA choTe choTe rAjagharAnoMne bhI 8vIMse 13vIM zatI taka jaina dharmakA poSaNa kiyaa| isa kAraNa yaha dharma sArvajanika bana sakA tathA sabhI dizAoMse isako bala milatA rhaa| aise gharAnoMmeM sAntara nareza, kAMgalva aura cAMgalvoM tathA karahADake zIlahAra rAjapuruSoMke jainopakArI kAryoko ginAyA jA sakatA hai| inake sAtha sAtha aneka sAmanta, maMtrI, senApati, seTha, sAhUkAra aura kaI mahilAoMke dharmaprabhAvanAke vividha tarahake vaiyaktika kAryoMko dhyAnameM liyA jA sakatA hai| vijayAnagara kAla _ vijayAnagara sAmrAjyakI sthApanA 14vIM zatI meM huyii| usa samaya jaina dharma asvastha avasthAmeM thaa| paraMtu sahanazIlatA aura dharmanirapekSatAkI jo udAranIti vahA~ ke rAjAoMne apanAyI isase jaina dharmako kAphI rAhata milii| bukkarAya prathama jainoM ke zaraNadAtA the| senAnAyaka irugappa jaina thA, usake kAraNa jaina dharmako 14-15vIM zatI meM protsAhana milaa| zravaNabelagolA, belUra, halebIDa ityAdi sthAnoMmeM anya dharmAvalaMbiyoMne jainoM ke sAtha premabhAvanA bddh'aayii| pandrahavIM zatIke devarAva prathama tathA dvitIyane jainoMko sahAyatA dI thii| vijayAnagarakI mukhya rAjadhAnImeM jainoMkI jar3eM itanI majabUta nahIM thI, paraMtu jiloMmeM adhikRta rAjyagharAnoMke AzrayameM jaina dharmakA poSaNa acchI tarahase hotA rhaa| 16vIM zatIke kavi maMgarasane

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jaina dharmakA prasAra : 23 kitane hI jaina sthala banavAye tathA kannaDameM kitane hI graMtha rceN| 14vIMse 17vIM zatI taka saMgItapura, gerasoppe, kArakala ityAdi jainoM ke acche kendra rahe haiN| belArI, kuDAppA, koyaMbaTUra Adi jiloM meM tathA kolhApura, cAmarAjanagara, rAyadurga, kanakagiri ityAdimeM bhI jainoM kA prabhAva banA rhaa| zRMgerIne 12vIMse 16vIM tathA velUrane 14 vIMse 19vIM zatI taka jaina dharmakI rakSA kii| usa kAlake siMhakIrti, vAdI vidyAnaMda Adi vidvAnoM ke nAma ullekhanIya haiN| inake alAvA kitane hI sAhityakAra aura paMDita usa samaya meM hue jo jaina dharmakI sevA karate rheN| inameM paMDita bAhubali, kezavavarNi, madhura, yazaHkIrti, zubhacaMdra ityAdiko ginAyA jA sakatA hai| yaha hai jaina dharma ke prasArakA aitihAsika siNhaavlokn| apane prAraMbhika kAlase madhyayugIna kAla taka jaina dharma ucita rUpase panapatA rhaa| vaha pUrva dezase dakSiNa aura pazcimakI ora uttarottara vikAsazIla hotA gayA, yahA~ taka ki dakSiNameM to vaha suvarNa yugoMmeM plaa| ina AdhAroM parase jainoMkI saMkhyA usa samaya anya dharmiyoM ke anupAtameM adhika rahI hogI aisA anumAna lagAne meM koI atizayokti nahIM kahI jA sktii| eka samaya dakSiNa dezameM jainoM aura bauddhoMkA hI bolabAlA thaa| usa pradezameM hindU dharmane bAdameM praveza kiyA hai, pahale vahA~ para hindU dharmakA itanA prabhAva nahIM thaa| vartamAna sthitiko dekhate hue jaina dharmakI avasthA bilkula viparIta sI lagatI hai| jainoMkI saMkhyA anupAta meM kama ho gayI hai| isa avanatike kyA kAraNa ho sakate haiM ? pUrvakAlameM aneka ucca koTikI vibhUtiyA~ vividha kSetromeM huyI, unakI saMkhyA uttarottara kAlameM ghaTatI hI gayI hai| pahalekA zAsanaprema, udAra vRtti aura nisvArtha sevA Ajakala kSINa hotI jA rahI hai| sAmAnya prajAkI anukUlatAke anusAra dharmakI gatizIlatA bandasI ho gayI hai, jabaki yaha sarvavidita hai ki gati hI jIvana hai| eka tarapha choTI choTI bAtoMmeM adhikase adhika sUkSmadarzI ho gaye haiM jinakI upAdeyatA sImita hai, to dUsarI ora bar3I bar3I bAtoMmeM udAsIna vRtti ghara kara gayI hai jinakA kAryakSetra vistRta hai aura jo vAstavika rUpameM jIvana ke saha-astitvase sambandhita haiN| anekAnta aura syAdvAda pustakoM aura siddhAnta taka hI sImita raha gyaa| sAmAjika aura dhArmika jIvanameM use pUrNa zaktise apanAne ke anivArya prayAsa hI nahIM hue| idhara dekheM to gRhasthadharma para sAdhudharmakA prabhAva bar3ha gayA hai to udhara sAdhudharmameM gRhastha karmoMkA prvesh| do vibhinna kSetroMkI maryAdAoMkA atikramaNa honese sAdhAraNa jIvana durUha sA ho rahA hai| bhagavAna mahAvIrane upAsaka Anandako gRhasthadharmake vratoM ko dhAraNa karavAte samaya yaha kabhI bhI nahIM kahA thA ki tuma kRSikAryakA tyAga kara do| unhoMne to itanA hI kahA thA ki 'ahA suhaM' dharmAcAra svIkAra kro| arthAt apanI zakti aura manake pariNAmoM ke anusAra dhArmika maryAdAoMkA pAlana kro| lekina arvAcIna dharmakA svarUpa hI badala gayA hai| kRSikAryako ghRNAspada samajhA jAtA hai, usameM hiMsA mAnI jAtI hai jabaki 'viruddharajjAikramma' 'kuDatulakuDamANa' aura 'tappaDirUvagavavahAra' (arthAt rAjyake kAnUnoM ke viruddha kArya karanA, jhuThe tola aura jhUThe nApakA prayoga karanA aura nakalI vastuoMko asalIke rUpameM calAnA) nAmaka aticAroMke poSaNameM gaurava samajhA jAne lagA hai| kRSikArya sAdhu tathA gRhasthake jIvana ke nibhAne ke lie maulika AvazyaktA hai, jisa prakAra vAyu prANadhAraNake lie| usa hiMsAko hiMsA nahIM, mAnA gayA hai| prathama tIrthaMkara RSabhane to svayaM hI kRSikAryakA upadeza diyA thaa| isa dRSTiko dhyAna meM rakhate hue kRSikArya-virodhI upadeza kahA~ taka ucita aura yogya Thaharate haiN| aisI hI aneka bAteM aura mudde haiM jina para gRhastha, sAdhu, vidvAn aura AcArya samudAyako vicAra karanA cAhie tathA una mUla kAraNoMko DhU~Dha nikAlanA cAhie jinake phalasvarUpa jaina dharmakA hrAsa hotA jA rahA hai, jabaki AbAdIkI saMkhyAke

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24 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha anupAtase kAphI adhika mAtrAmeM sAhityabhaMDAra, kalAkRtiyA~ aura anya sAMskRtika sAmagrI prastuta dharmAvalambiyoM ke pAsa meM vidyamAna haiN| saMdarbha graMtha : 1 Studies in South Indian Jainism by M. S. R. Ayyangar & B. S. Rao, Madras, 1922. 2 Jainism in North India by C.J. Shah, 1932. 3 Mediaeval Jainism by B. A. Saletore, Bombay, 1933. 4 Jainism in Gujrat by C. B. Sheth, Bombay, 1953. 4 Jainism in Bihar by P. C. RoyChoudhury, Patna, 1956. 6 Jainism in South India by P. B. Desai, Sholapur, 1957. 7 Jainism in Rajasthan by K. C. Jain, 1963. 8 Mahavira Jayanti Week - 1964. Bharat Jain Mahamandal, Calcutta. 1 bhAratIya saMskRtimeM jainadharmakA yogadAna, vyA0 1, DA. hI. lA. jaina, bhopAla, 1962 / 10 jaina sAhityakA itihAsa, pUrva pIThikA, paM0 ke0 ca0 zAstrI, vArANasI 1963 / PHULP

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kharatara gacchake AcAryoM sambandhI katipaya ajJAta aitihAsika racanAe~ agaracaMda nAhaTA bha~varalAla nAhaTA jaina dharma ke aneka saMpradAya va gaccha haiM, unameM zve0 jaina saMghameM kharatara gaccha aura tapA gaccha mukhya haiN| madhyakAla meM aura bhI kaI gaccha baDe prabhAvazAlI rahe hai para Aja ve prAyaH nAmazeSa ho cuke haiM / kharatara gacchakA itihAsa vastutaH atyanta gauravapUrNa aura gata eka hajAra varSake jaina samAjake itihAsakA eka mahattvapUrNa aMga hai / isake mahAna jyotirdharoMne apane viziSTa cAritra ke bala para zithilAcAra ke gartameM girate hue jaina zAsanako caityavAsake ghanAndhakAra se nikAlakara unnatipathArUDha banAyA / zrIvarddhamAnasUrijIse lagAkara zrI jinapatisUrijI takakA kAla isI mahAn zAsana sevAse AplAvita hai| unhoMne jaina samAjako ucca cAritra saurabha se surabhita kiyA, AgamoMkI TIkAeM banAI, prakaraNa granthoM evaM vividha viSayaka ucca koTike vAGmayase sAhitya bhaNDArako bharapUra kiyA / rAjasabhAoM meM zAstrArtha kiye, rAjAoM evaM jana sAdhAraNako pratibodha dekara lAkhoM naye jaina banAye, AzAtanAoMko dUra karane ke lie sthAna sthAna para vidhicaitya sthApita kiye aura bhavyajIvoMko mokSamArgameM lagAkara unakA kalyANa sAdhana kiyaa| ina saba bAtoM para prakAza DAlanevAlI prAmANika sAmagrI jyoM jyoM prakAzameM A rahI hai, usakA parizIlana karane para pUrvAcAryoMkI mahAna zAsana sevAoMke prati hRdaya aTUTa zraddhA aura AnaMdase jhuka jAtA hai| kharatara gacchake itihAsa para viziSTa prakAza DAlanevAlI gurvAvalI siMghI jaina granthamAlAse va usakA anuvAda dAdA jinadattasUri aSTama zatAbdI mahotsava samitikI taraphase ( kharatara gacchakA itihAsa prathama khaMDa rUpameM) prakAzita ho cukA hai| isameM varddhamAnasUrijIse le kara jinezvarasUri (dvitIya) takakA vRtAnta vAdalabdhi sampanna zrI jinapatisUri ke ziSya jinapAlopAdhyAya dvArA saMkalita hai, jisakA pUrvAdhAra gaNadhara sArdhazataka bRhad vRtti hai jo saM0 1295 meM pUrNadevagaNa kathita vRddha sampradAyAnusAra zrI sumati gaNine banAI hai| isameM yugapradhAna zrI jinadattasUrijI takakA vRtAnta hai| unake paTTadhara maNidhArI jinacaMdrasUrijI se saM0 1305 takakA vRtAnta jinapAlopAdhyAyane dillI nivAsI sAdhu sAhulike putra sAha hemAkI prArthanAse likhA aura usake pazcAt saM0 1393 taka arthAt dAdA zrI jinakuzalasUrijI ke paTTadhara

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26 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha zrIjinapadmasUrijIke samaya takakA vRtAnta tatkAlIna anya vidvAnoM dvArA likhA gayA thA jisakI eka mAtra prati zrIkSamAkalyANajIke bhaMDArameM milI thI, jo atyanta prAmANika aura mahattvapUrNa hai| isake bAdakA itivRtta vibhinna sAdhanasAmagrIse saMkalita huA jisameM kitanIka sAmagrI tatkAlIna aura kitanI hI bahata bAdakI likhI huI paTTAvaliyoMse upAdhyAya kSamAkalyANajIkRta paTTAvalI ke anuvAda rUpameM uparyukta itihAsake dasare khaMDa meM diyA hai jo prakAzita hai| saM0 1430ke mahAvijJapti lekhakI upalabdhise bahatasI prAmANika aura ajJAta sAmagrI prakAzameM AgaI evaM kucha paTTAbhiSeka rAsAdise upalabdhi ho gaI para zrIjinalabdhisUrijI Adi ke viSayakA itihAsa aMdhakArameM hI thaa| rAsa Adi aitihAsika sAmagrI hamane 27 varSa pUrva aitihAsika jaina kAvya saMgraha meM prakAzita kI thii| usake bAda hamArI khoja niraMtara cAlU hai, phalataH bahutasI mahattvapUrNa ai0 racanAeM hamAre yahA~ saMgRhIta haiN| bIkAnera vRhadjJAnabhaNDArake mahimAbhakti bhaMDArameM hameM lagabhaga 30 varSa pUrva muni mahimAbhakti likhita eka sUcI milI thI jo saM0 1490 li. jinabhadrasUri svAdhyAya pustikAkI thii| isameM prastuta prati ajImagaMjakI bar3I posAlameM honekA yaha ullekha thA: "saM0 1490 varSe mArgasira sudi 7 re likhyor3e pustaka ro bIjaka saM0 1924 rA mi| jyeSTa sudi prathama 13 zrI ajImagaMje li.| paM0 mahimAbhakti muninaa| yA parati ajImagaMja meM bhaMDAra meM chai bar3I posaalmeN|" isa sUcI ke anusAra hameM kaI ajJAta prAcIna kRtiyoMkI jAnakArI prApta huI aura ve kRtiyAM prApta karane ke lie zrIpUjyajI mahArAja zrIjinacAritrasUrijI, zrI amaracaMdajI botharA aura aMtameM zrIpUjyajI zrIjinavijayendrasUrijIko prerita karate rhe| hama svayaM bhI vahAM jAkara jJAnabhaMDAra dekha cuke para prApta na ho skii| isake lie sAmayika patroM va pustakAdimeM bhI likha kara khojakI AvazyakatA vyakta kI gaI para gata 30 varSoM meM hamArI AzA phalavatI nahIM huii| abhI kalakattAmeM jainabhavanakI orase zrI badrIdAsajIke bagIce meM jaina inphormezana byUroke udghATana avasara para Ayojita pradarzanI ke lie zrI motIcaMdajI botharA pAMca pratiyA~' lAye aura mAtra eka dina pradarzita ho kara vApasa bhejaneke pUrva lAyI huI pratiyoMko mujhe dikhA denA ucita smjhaa| mujhe rAtameM sUcanA milate hI tatkAla vahAM jAkara pratiyAM le AyA aura mujhe una pratiyoMmeM usa svAdhyAya pustikAke mila jAnekA apAra harSa huA jise hama gata 25-30 varSoMse khoja rahe the| isa svAdhyAya pustikAmeM hameM kharatara gaccha itihAsa para mahattvapUrNa prakAza DAlane vAlI nimnokta kRtiyAM milI haiM, jo adyAvadhi aprakAzita haiN| 1 zrIjinapatisUri suguru paMcAzikA gA0 55 2 zrIjinezvarasUri catuHsaptatikA gA074 3 zrIjinaprabodhasUri catuHsaptatikA gA0 74 u. vivekasamudra 4 zrIjinakuzalasUri-cahuttarI gA074 zrItaruNaprabhAcArya 5 zrIjinalabdhisUri-cahuttarI gA0 74 zrItaruNaprabhAcArya 6 zrIjinalabdhisUri stUpanamaskAra gA0 4 7 zrIjinalabdhisUri nAgapura stUpanamaskAra gA0 8 1 ajImagaMjase lAI huI 5 pratiyA~meM 3 pratiyA~ kalpasUtrakI thI, jinameM 1 svarNAkSarI aura 1 raupyAkSarI bhI hai| cauthI prati hemahaMsakRta ghaDAvazyaka bAlAvabodha aura pAMcavIM prastuta svAdhyAya pustikA hai|

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kharatara gacchake AcAryoM sambandhI katipaya ajJAta ai0 racanAe~: 27 ina kRtiyoMke sAtha zrIjinakuzalasUrijIkRta " zrIjinacaMdrasUri catuHsaptatikA " gA0 74 bhI isa pratimeM hai / yaha hameM 28 varSa pUrva gaNivarya zrIbuddhimunijI mahArAjane lIMbaDIke bhaMDArase nakala karake bhejI thI jisakA hamane " dAdAjinakuzalasUri" pustaka ke pariziSTa meM prakAzana kara hI diyA thA / evaM isakA sAra aitihAsika jainakAvya saMgrahameM usI samaya prakAzita kara diyA thA / uparyukta sabhI kAvya prAkRta bhASA meM aura eka hI zailI meM racita hai / zrIjinapatisUri paMcAzikA( gA0 55 ) ke atirikta 5 kRtiyAM 74 gAthAkI catuH saptatikAeM haiM, antima do laghu kRtiyAM haiN| inameM aitihAsika varNana alpa aura guNavarNanAtmaka stuti paraka hI adhika bhAga hai| phira bhI jo aitihAsika tathya inameM haiM, ve atyanta mahattvapUrNa aura anyatra aprApya bhI haiN| guru stutiyAM bhI AtmAko UMcA uThAne va gurubhakti meM tallIna kara satpuruSoM ke prati pUjyabuddhi Ane para Atma-vikAsa hone meM adbhuta sahAyaka hai / upamAoM kI chaTAeM baDI hI manojJa aura hRdayagrAhI haiN| yahAM ina saba kRtiyoMkA aitihAsika sAra diyA jA rahA hai / zrIjinapatisUri paMcAzikA yaha 55 gAthAkI prAkRta bhASAmaya racanA hai| isameM racayitAne apanA nAma nahIM diyA hai para dvitIya gAthAkA " jiNavaiNo niya guruNo" vAkyase jJAta hotA hai ki yaha racanA zrIjinapatisUrijI - ke kisI ziSyakI hI hai / marU- maNDala ke vikramapura nivAsI yazovarddhanakI bhAryA suhava devI (jasamaI) kI kukSIse saM0 1210kI mitI caitra vadi 8 mUla nakSatrameM ApakA janma huA / bAlyakAlameM hI vairAgya vAsita ho kara saM0 1218 phAlguna badi 10 ko atizaya jJAnI suguru jinacaMdrasUrise dIkSita hue / gurudevane pahalese hI ApakI tIrthAdhipattvakI yogyatA khyAlakara jinapati nAma nizcaya kara liyA thaa| bAgar3a deza ke babberakapura meM Apako AcArya padase alaMkRta kiyA / Apa samasta zrutajJAna svasamaya para samaya ke pAragAmI aura vAdIbhapaMcAnana the| Apane anekoM vAdiyoMkA darpa dalana kiyA aura zAkaMbharI ke rAjA(pRthvIrAja) ke samakSa "jayapatra " prApta kiyA / AzApallI meM (zAstrArtha - vijayadvArA ) saMghako AnaMdita kiyaa| Apa gautamasvAmIkI bhAMti labdhisampanna, sthUlibhadrakI bhAMti dRDhavratI aura tIrthaprabhAvanA meM bajrasvAmI kI bhAMti the| Apa vAstavika arthoM meM yugapradhAna puruSa the / saM0 1223 kArtika zudi 13ko Apako AcArya pada milA thA / zrIjinezvarasUri (catuH) saptatikA yaha 74 gAthAkI prAkRta racanA hai| isameM bhI racayitAkA nAma nahIM hai / ApakA janma marukoTa nivAsI bhAMDAgArika nemicaMdra ke yahAM saM0 1245 mitI mArgazIrSa zuklA 11ko lakhamiNi mAtAkI kukSIse huA | ApakA janmanAma AMvar3a thA / saM0 1258 meM kher3apurameM zrIzAMtinAtha svAmIkI pratiSThA ke avasara para zrI jinapatisUrijIne Apako dIkSitakara vIraprabha nAma rkhaa| lakSaNa, pramANa aura zAstra siddhAntake pAragAmI hokara mAravAr3a, gUjarAta, vAgar3a dezameM vicaraNa kiyaa| saM0 1278 mAgha sudi 6 ke dina jAvAlipura-svarNagirimeM AcArya zrIsarvadevasUrijIne inheM zrIjinapatisUrijI ke paTTa para sthApitakara jinezvarasUri nAma rkhaa| yaha paTTAbhiSeka bhagavAna mahAvIra svAmI ke maMdira meM huA thA / Apane 14 varSakI laghuvayameM dIkSA lI aura 34veM varSameM gacchadhipati bane / Apane zatruMjaya, giranAra, sthaMbhana mahAtIrtha Adi tIrthoMkI yAtrA kI /

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28 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha zrIjinaprabodhasUri (catuH) sptikaa| yaha racanA bhI 74 prAkRta gAthAoMmeM hai| isake racayitA vivekasamudra gaNi hai| osavAla sAhU khIMvaDake patra zrIcaMda aura unakI patnI siriyAdevIke kulameM caMdramAke sadRza Apa the| ApakA janma gujarAtake thArApadra nagara meM saM0 1285ke mitI zrAvaNa sudi 4ke dina pUrvAphAlgunI nakSatrameM huA, ApakA janmanAma mohana rakhA gyaa| saM0 1296 mitI phAlguna badi 5ke dina zrIjinezvarasUrijI mahArAjane Apako pAlanapurameM dIkSita kiyaa| gurumahArAjane ApakA nAma prabodhamUrti rakhA jo ki svasamaya-parasamaya jJAtA honese sArthaka ho gyaa| saM0 1331ke mitI Azvina kRSNa 5ke dina svayaM zrIjinezvarasUrine unheM apane paTTa para virAjamAna kiyaa| unake svargavAsake pazcAt zrIjinaratnasUrijIne dazoM dizAoMse Aye hue caturvidha saMghake samakSa saM0 1331 mitI phAlguna kRSNa 8ke dina jAvAlipurameM nAnA utsava-mahotsavapUrvaka zrI jinaprabodhasUrikA paTTAbhiSeka kiyaa| Apane vRtti-paMjikA sahita bodha nAmaka graMtha trayakI racanA kii| Apa bar3e bhArI vidvAna, prabhAvaka aura gacchabhAra dhurA dhuraMdhara hue| zrIjinakuzalasUri-cahuttarI yaha prAkRta racanA zrItaruNaprabhAcArya dvArA 74 gAthAoMmeM racita hai| inameM sarvaprathama kalpavRkSake sadRza guruvara zrIjinacaMdrasUri aura bhagavAna pArzvanAthako namaskAra karake yugapradhAna, atizayadhArI sadguru zrIjinakuzalasUrijIkA guNavarNana karanekA saMkalpa karate hue taruNaprabhAcArya mahArAja kahate haiM ki mAravADake samiyANA nagara meM maMtrIzvara devarAja ke putra jilhA nAmaka the| ve dharmAtmA the, unakI buddhi artha aura kAmake vanispata dharmadhyAnameM vizeSa gatizIla thii| usakI zIlavatI strIkA nAma jayatazrI thA jisakI kukSIse vi0 saM0 1337ke mitI mArgazIrSa vadi 3 somavAra ke dina zubhavelAmeM caMdramAdi uccasthAna sthiti samayameM punarvasu nakSatra meM ApakA janma huaa| zubha karma sAdhanAmeM sakarma, laghukarmI honese ApakA nAma karmaNakumAra rakhA gyaa| saM0 1346 mitI phAlguna sudi 8 ke dina samiyANAke zrIzAMti jinaprAsAdameM zrIjinacaMdrasUrijIke karakamaloMse ApakI dIkSA huii| mahopAdhyAya zrIvivekasamudra gaNikI caraNa sevAmeM rahakara Apane vidyAdhyayana kiyA aura vidyArUpI svarNapuruSakI siddhi kii| usa svarNapuruSake do vyAkaraNa rUpI do caraNa, chaMda-jAnu, kAvyAlaMkAra urusaMghi, nATaka rUpI kaTimaMDala, gaNita nAbhi saMvatta, jyotiSa-nimitta garta, dharma-zAstra rUpI hRdaya, mUlazrutaskaMdha bAhu, chedasUtra hAtha, chatarka uttamAMga Adi aMgopAMga the| guNazreNI rUpI ziva-niseNI para ArUDha hokara mithyAttva paTako dezanA zaktise phAr3a ddaalaa| ucca cAritrake prabhAvase kaSAyoMko upazAMta kiyA, brahmacarya rUpI tIrase kAmasenApatikA hanana kara ddaalaa| adhyavasAna cakradhArAse moharAjako nihatakara jayajayakAra kIrtipatAkA dazodizimeM prasArita kii| guruvarya zrIjinacaMdrasUrijIne caritranAyakakI yogyatAse prabhAvita hokara saM0 1375 mitI mAgha sudi 12ke dina nAgapurake jinAlayameM bar3e bhArI saMghake melemeM caritranAyakako vAcanAcArya padase alaMkRta kiyaa| tatpazcAt vikrama saM0 1377 mitI jyeSTha kRSNA 11 guruvArako gurunirdezAnusAra pATaNa nagarake zrIzAMtinAtha jinAlayameM AcArya zrIrAjendracandrasUrine yugapradhAna zrIjinacaMdrasUrijIke paTTa para inako sthApita karake jinakuzalasUri nAma prasiddha kiyaa| inhoMne mahAtIrtha zatruJjayake zikhara para mAnatuMga prAsAdameM RSabhadeva svAmIkI pratiSThA kii| zatrujaya, aNahilapura, jAlora, derAvara Adi aneka sthAnoMmeM jinabimboMkI sthApanA kii| jesalamera meM mUlanAyakakI sthApanA kii|

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kharatara gacchake AcAryoM saMbandhI katipaya ajJAta ai0 racanAe~ : 29 zrImAla seTha rayapati ke saMgha sahita zatrujaya Adi tIrthokI yaatraakii| phira osavAla vaMza zukti mauktika sAhu vIradevake sAtha bhI zujayAdikI vaMdanA kii| gUrjara, mAravAr3a, siMdha, savAlakSAdi dezoMmeM vicarakara dIkSA, mAlAropaNa, zrAvaka vratAropaNa Adi dvArA sthAna sthAnameM dharmakI prabhAvanA kii| ve sarva vidyAoMke jJAtA the, syAdvAda, nyAyazAstrAdi do vAra ziSyoMkA bhnnaaye| caityavandana kuLaka vRtti, Adi sarasa kathAnaka paropakArArtha rce| vidyA vinoda, kavitA vinoda aura bhASA vinoda satata cAlU rahatA thaa| gurudevake eka eka upakArakA varNana hajAroM jihvAoM dvArA bhI nahIM kiyA jA sktaa| antameM gurudeva zrIjinakuzalasUrijIne apanA AyuzeSa jJAtakara zrItaruNaprabhasUriko apane paTTa para padmamUrti nAmaka ziSyako abhiSikta karanekA Adeza dete hue unakA nAma jinapamasUri rakhA jAnA nirdiSTa kiyaa| Apane anazana ArAdhanApUrvaka navakAra maMtrakA dhyAna karate hue mithyAduSkRta dete hue saMlekhanA sahita saM0 1389 mitI phAlguna vadi 6ko derAvarameM svarga prApta hue| vahAM naMdIzvara, mahAvideha Adi meM tIrthaGkaroM-jinavaMdanAdi satkAryoM meM apanA kAla nirgamana karate haiN| isa prakAra yugapravara zrIjinakuzalasUrikI taruNaprabhAcAryane bhAvapUrvaka stuti kii| zrIjinalabdhisUri-cahuttarI prastuta prAkRta bhASAke 74 gAthA vAle sundara kAvyakA nirmANa zrItaruNaprabhAcAryane hI kiyA hai| ina saba kAvyoMmeM isakA mahattva sarvAdhika hai kyoMki AcArya zrIjinalabdhisUrijIke sambandhameM adyAvadhi koI prAmANika sAmagrI prApta nahIM thii| prAcIna pramANoMke abhAvameM pichalI paTTAvaliyoMmeM bahuta hI saMkSipta aura astavyasta jIvanI saMkalita hai| isa prAmANika cahuttarIkA sAra yahA~ diyA jA rahA hai jo kharatara gaccha itihAsakI zRMkhalAko jor3ane vAlI siddha hogii| AcArya zrIjinacaMdrasUriko namaskAra karake unhIM ke ziSya zrIjinalabdhisUrikI stavanA zrItaruNaprabhAcAryajI prAraMbha karate haiN| jahAM hATa aura gharoM para kapATa nahIM baMda kiye jAte aise corIcakArI rahita mADa dezameM jesalamera mahAdurga hai| vahAM yAdava vaMzI rAjA jayatasiMha rAjya karatA hai| darzana karanese zAsvata jina caityoMkA khyAla karAne vAlA pArzvanAtha jinAlaya bibaratna virAjita aura svarNa kalazayukta hai| osavAla vaMzakI navalakhA zAkhAmeM dhaNasIha zrAvaka hue jinakI bhAryAratna khetAhIkI kRkSise saM0 1360 mArgazira zukA 12ke dina sAcaurameM lakkhaNasI'hakA janma huaa| aNahilapurameM vicarate hue zrIjinacandrasUrikA upadezAmRta pAna kara saM0 1370 mitI mAgha zuklA 11ko dIkSita hue| ApakA dIkSA nAma labdhinidhAna rakhA gyaa| zrImunicaMdra gaNike pAsa svAdhyAya, AlApaka, paMjikA, kAvyAdi tathA zrIrAjendracandrAcArya ke nikaTa nATaka, alaMkAra, vyAkaraNa, dharma prakaraNa, pramANazAstrAdikA adhyayana kara mULAgamoMkA adhyayana kiyaa| damayantI kathA, kAvyakusuma mAlA, vAsavadattA, kammapayar3I Adi zAstra pddh'e| zrIjinakuzalasUrijIke pAsa mahAtarka khaNDanAdi tathA hamAre (taruNaprabhAcArya) sAtha viSama graMthoMkA abhyAsa kiyaa| inake kSAMti, dAnta, Adi guNoMkI kAntiko dekha kara vacana kalAdise mugdha ho kara saba loga sira dhunate hue Azcarya pragaTa karate the| saM0 1388 mitI mArgazIrSa zuklA 11ke dina derAvarameM zrIjinakuzalasUrijI mahArAjane hameM (taruNaprabha) sUripada aura inheM (labdhinidhAnajIko) upAdhyAya padase alaMkRta kiyaa| prathama 1 dekhiye yugapradhAnAcArya gurvaavlii| saM0 1389 ke devarAjapura (derAvara) cAturmAsa meM zrIjinakuzalasUrijI ne labdhinidhAnopAdhyAya ko syAdvAdaratnAkara, mahAtarka ratnAkarAdi graMthoM kA parizIlana karavAyA thaa| de. hamAre likhita dAdAjinakuzalasUri /

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30 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha pAdhyAyako paDhAyA evaM jinapadmasUri, vinayaprabha, somaprabhako pramANa, AgamAdi vidyAoMkA abhyAsa kraayaa| saM0 1400 ke mitI ASADha mAsakI prathama pratipadAko pATaNake zrIzAMtinAtha jinAlayameM hamane (taruNaprabhAcArya) zrIjinapadmasUrijIke paTTa para AcArya padAdhiSTita kiyA aura zrIjinalabdhisUri nAma prasiddha kiyaa| inhoMne gujarAta, mAravAr3a, savAlakSa, lATa, mADa, sindhu, soraTha Adi dezoMmeM vicara kara sthAna sthAna para mahotsavAdi dvArA zAsana prabhAvanA kii| cAroM dizAoMmeM zAsana bhavana ke nimitta cAra pada bnaaye| tIna upAdhyAya, cAra vAcanAcArya, 8 ziSya sAdhu aura do AryAeM kii| apane pragaTita guNa mahAtmyase rAya vaNavIra, mAlaga pramukhA dise padasevA kraaii| isa prakAra atizayavAna AcArya mahArAjane apanA AyuzeSa jAna kara apane paTTayogya zikSA de kara saM0 1404 miti Azvina zuklA 12ke dina nAgaura meM samAdhipUrvaka svargavAsI hue| zrIsaMghane unake smAraka stUpakA nirmANa bar3e prazasta rUpase krvaayaa| yaha zrIjinalabdhisUrikI stavanA unake satIrthya zrItaruNaprabhasUrine kii| zrIjinalabdhisUri stUpa namaskAra (gA0 4) aura zrIjinalabdhisUri nAgapura stUpa stavana (gA08) nAmaka donoM kRtiyoM meM mAtA-pitAke nAma janma, dIkSA, upAdhyAya, AcArya pada va svargavAsakI upara likhI bAteM hI saMkSipta varNita hai| kharatara yugapradhAnAcArya gurvAvatnI meM saM0 1390 meM jinapadmasUrikI padasthApanake samaya inako mahopAdhyAya batalAyA hai| saM0 1393ke zacuMjaya saMgharma bhI Apa the| trizRMgamameM rAjA rAmadevakI rAja sabhAmeM vidvattA dvArA sanmAna prApta kiyaa| jina kuzalasUri ke caityavaMdana kulakavRtti para Apane TippaNa likhA thA va 1 zAMtistavana, 2 vItarAga vijJAptikA, 3-4-5 pArzva stavana, 6 prazasti Adi ApakI racanAe~ bhI prApta haiN| prati paricaya jisa zrIjinabhadrasUri svAdhyAya pustikAse ina saba mahattvapUrNa kRtiyoMkI upalabdhi huI vaha prati eka atyaMta mahattvapUrNa saMgraha pustikA haiN| jisameM AgamasUtra, prakaraNa, stotra stavana Adi sabhI viSayake upayogI graMthoMkA saMgraha hai| zrIjinabhadrasUrijI mahArAja eka mahAprabhAvaka aura suprasiddha AcArya hue haiM jinhoMne jaisalamera, khaMbhAta, pATaNa, jAlora, nAgaura Adi sAta sthAnoMmeM jJAnabhaNDAra sthApita kiye the aura aneka tIrtha-mandiroMkI pratiSThAe~ Adi karAI thiiN| vizeSa jAnaneke lie vijJaptitriveNI, kharatara gaccha paTTAvalI Adi graMtha dekhane caahie| yaha svAdhyAya pustikA Apake hI dvArA saMkalita hai, isakI puSpikA isa prakAra hai: "saMvat 1490 varSe / mArgazira sudi 7 gurau dine zatabhiSA nakSatre harapaNa yoge zrIvidhimArgIya suguru zrIjinarAjasUri dIkSitena parama bhaTTAraka prabhuzrI majjinabhadrasUri AtmanamavabodhanArtha zrIsajjhAya pustikA saMpUrNA jAtA ||ch / sAdhu sAdhvI zrAvaka zrAvikANAM klyaannmstu|| lekhakapAThakayoH bhadraM bhvtuH||1 pa0 padmasiMha putrikayA rajAI zrAvikayA zrIsvAdhyAya pustikA lekhitaa|| (bhinnAkSare)" yaha prati 144 patroMkI haiN| eka eka pRSThameM 19me 21 taka paMktiyAM aura pratyeka paMkti meM 70se 74 taka akSara haiM, kahIM kahIM paryAya bhI likhe hue hai| isa prakAra yaha mahattvapUrNa svAdhyAya pustikA lagabhaga teraha hajAra zloka jitanI sAmagrIse paripUrNa hai| akSara sundara bArIka hote hue kAgaja patale / aura dImakoM dvArA eka kinAre ke hisseko sachidra va naSTa kara diyA hai| uparokta pratimeM prApta ai0 racanAoMmeM sabase mahatvakI jinalabdhisUri sambadhI cahutarI va stUpa namaskAra saMjJaka hai kyoMki jinalabdhisUrisambadhI abhI taka jo bAte ajJAta thI ve inhIM ke dvArA prakAzameM AtI hai isalie ina racanAoMko Age diyA jAtA hai|

Page #404
kharatara garachake AcAryoM sambandhI katipaya ajJAta ai0 racanAe~: 31 zrItaruNaprabhasarikRta zrIjinalabdhisUri-cahuttarI siri muNivai jiNacaMdaM bhavikavala vilAsayaM sareUNa siri jiNaladdhi risIsaM tassa susIsaM thuNAmi ahaM // 1 // viyar3e nAyakavAr3e nagova egovae jaNovAr3e haTTedharekavADe jattha na datte tahiM mADe // 2 // dese dugga nivese siri jesalameru puravare Asi / rAyA jAyava vaMse navo nisIho jayatasIho // 3 // siri pAsanAha bhavaNaM bhuvaNattaya kaNaya bhUsaNaM tattha jiNa viMba rayaNa sohaM sadaMDa kala hUya kala kalasaM // 4 // dihrami jammi diTThA sAsaya jiNa bhavaNa vanniyA sakkhA jaM tassegaga rUvaga sarUvasu nirUvaNaM nAsi // 5 // Uesa vaMsa rukkhe balakkha navalakkha sAhapariNAhe accabbhuya mahirUDho dhaNasIho sAvao rUDho // 6 // khetAhIthI rayaNaM dhIrayaNajIe sIla kaMti juyaM sayalAsA mupayAsaM supayA saMtosayaM jAyaM // 7 // anna diNe sA jAyA saMjAyA tassa sAhusuyagabbhA AvaMdu gaMDathalayA vara vasu gabbhAva sumaicchaM / / 8 // sA suyaNU sAsuyaNU saMsUyaNU tappabhAvao hayA suha sumaNA suha sumaNA suha samaNo sevaNA nirathA // 1 // suna rasAnala sasaMhara vikkama naranAha virisa maggasiri suddha duvAlasa divase uvavanno tesi vara putto // 10 // saJcaure vara nayare jammo jasseha mAya tAya hre| teNaM aNuhAreNaM so jAo mAya bhAya suho|| 11 // bharaNI gae sasaMke suha gahasaMge kuraMga vai lagge lakkhaNavaMto putto lakkhaNasIho kao tehiM // 12 // Arugga bhagga sohagga kaMti muha suguNa vagga saMsaggA bAlattaNevi mAyA piyarANaM nayaNa ghaNa saare||13|| bhavasAyara bohitthA avAhitthA nANa daMsaNaguNosu aNahilapuramma pattA viharaMtA sUri jiNacaMdA // 14 //

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32 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha muhacaMda caMdimAe tesi so desaNAe pANeNaM saMtitto saMjAo avivAso visayavisasalilo // 15 // teraha sattari varise mAhammi valakkhi gArasI divse| siri paTTaNaMmi dikkhA jiNacaMda gurukkame tarasa // 16 // sajjhAya pAThakAlAvaga paMjiya kavva bhaNaNa meeNaM muNicaMdagaNi samIpe laddhinihANeNa pari raiyaM // 17 // rAiMdacaMda nAmagasUri sayAMsaMmi teNa manhehiM nADaga vijjAvi jANaMdAlaMkAra vAgaraNA // 18 // bhaNiyA dhamma payaraNa gaNiyA pamoNANi sappamANANi mUlAgamAmahatthA bulAI sukulAiM gahiyAI // 19 // niya buddhi kusaggeNaM jeNANegaMta jayapaDAgAe guru giri rayaNa guhAe mahatva rayaNANi kaDittA // 20 // guNa gaNa gaNa rayaNa vaNa bIhIe ThAviUNa sayalANi buha bahu buddhi dhaNANaM sumuNi jaNANaM payattANi // 21 // damayaMtI e kahAe visamAe kavva kusumamAlA e vAsavadatta kahAe sayaMvarAe ThiyaM tarasa // 22 // kammappayaDI payar3I kiyAi gahaNatya gahaNa tanhA e| jassa na mUDhA gUDhA aipUDhA buddhi paTa mUDhA / / 23 // sirijiNakusala sayAse nAya mahAtaka khaMDaNa sutakA siyavAya saMvarAya ravi siTa parisiTTha takkAya // 24 // amhehi samaM bhaNiyA aNabhaNiyA bhANiyA visama gaMthA jeNaMdhihaNa guNeNaM acchariyaM AyaraMteNa // 25 // khaMti guNaM daMti guNaM kaMtiguNaM jassa sUriNokeya / dhUNaM dhUNaM sirasaM vannati narAya ThANesu // 26 // vayaNa kalA vayaNa kalA vayaNa kalA jamma jassa sarisa vannakalA savaNa suhA savaNa suhA savaNa suhAteNa jaha saMkhaM // 27 // maNa vayaNa taNu vittIo jayA tassa vassa vittIo tannocujja cujjaM jaM so tAsiM vasena Thio // 28 // vasu vasu-sihi sasi varise maggasire suddhi gArasI divase suddhavihi dhamma naravara mUlapure devarAyapure // 29 // jiNakusalasurisuhagurU suhastha kamaleNa saMgha samavAe amhANaM sUriSaya uvajjhAya payaM ThiyaM tassa // 30 //

Page #406
kharatara gacchake AcAryoM saMbandhI katipaya ajJAta ai0 racanAe~ : 33 paDhamaM ciya bhuvaNahio uvajhAo pADhimo sayala vija aha jiNapauma muNido viNayapaho somakittIya // 31 // gaNi somapabho kiMvI visama pamANAgamAi vijjAo jANAviUya jehiM vibohimao tehiM konahi vA // 32 // khaM khaM veya caMda varise AsADhe paDhama paDivaidiNeya siyavAre suhalagge sirisaMti jiNesara vihAre // 33 // jiNapaumasUri paTTe samaggaguNa joga saMgao vihilo amhehiM gaNanAho siri jiNaladdhitti nAmeNa // 34 // rayaNAyaroya vihuNA raviNA paomAyaro jahA sayayaM jehiM samuggaehiM taha vihi saMgho samullasio // 35 // ur3e kosuMbha jhayA disi bhatti su kuMkumattha vayahatthA bhU kuMkumarasa seyA jesi payAvassa pasareNaM // 36 // kitti kusumANa vuTTI AsIsa miseNa suyaNa saMtuTThI micchattaruI ruThThI uTThI diThThI na keNAvi // 37 / / sannANa rayaNa dIvo jesi vihi saMgha maMgala piivo| vaya sirikara parigahio tikAla visae parippurio // 38 // kAe kanne kiccaikAvijuikAvi sussaIya saI kAvi sohagga lacchI jesiM gacchAhivacca pae // 39 // sirivIra tittha mUhe guru bhArA dhArA bhAravaTAbho ahavA daDhayara thaMbhA gaNa pIDha pariTThiyA jehu // 40 // suha sihariNi jassa sire saha syui mihuNa dhammamihuNa kae uhao kirahiMDolA kannalayAo kiyA vihiNA // 45 // pugna paramANu ghaDiyA je sumuhaM saMmuhaM subhaviyANaM nayaNANa mavi jiNANuga suhoha vuTiva tuTTiyaraM // 42 // nAsA daMDassuvari bhAla yava vAraNassakiM hiTThA maNi maurAthiNi paurA jaM nayaNA saMbhuNA raiyA // 43 / / haMtuM tu rAga dose kaya tihuyaNa kaya suguNa saMpayAso sA vihiNA vihiyA jesiM supayaMDA jANu bhuya daMDA // 44 // bhUya toDakhaMdhakuMbhA kuMbhAliya nANahasthimallassa muNivai pura muha pAse maMgalakalasA kiyA vihiNA // 45 // daTTaNaso variTThA suyasArasamundaraM uraM guruyaM Isoluyavva mazaM sukisaMtesiM na payaDIe // 46 //

Page #407
34 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha hatya talA pAyavalA lacchIhara dala dalehi nimmaviyA kiM je supayAvaddaNA lacchI jaMte su saMkamiyA // 47 // jeli naha musIo sudda suttIo rasubbhava mahIo / aMga samudra sutIre kehiM na dina sa diTThIhiM // 48 // khaMDa para khaMDa sukkaraM pAya kakkarUkkara dakkhaM niyaha lakkha... Dugur3agur3iye ca kaTu guDiyaM // 49 // khIraM marUsakhIraM pIUsa rasaM kamaMbu bharavi rasaM mahiM kahiM jo vANI na saMdhuniyA // 50 // ujjaya vijaya vihAro jersi sakA asajA dhayarAyA / uttaraguNa payaDIo caDiyA niya visaya ThANesu // 51 // muNikA guDaguDayA saMjuDiyA sArasIharaddasahassA / taravariyAva suhAsA cakakarA... kapAyakA // 52 // diTThavisa na moho naya koho neva ogbhaTo loho / naya kAma joha choho jahi visehodae caribho // 53 // jesiM vayabala pabhArapa viveya vinaya sudaDa bhar3avAe annANaM annANaM bhaMgANaM paidiNaM pattaM // 54 // pai gAmaM par3a nagaraM vihiyA vihiNA mahUsavA paramA / satthI kArya saMgho guNa vihaveNaM bhareUNa // 55 // vANi guNo kathya guNo bakhAna guNoya jesimasariSTho kesi vihANa maNe na cchezya kAraMbha jAo // 56 // siri gujarata dese mArava dese savAyalakkhe ya lADe mADe se siMdhu suraTTAi visapsu // 57 // vajrjate tUra rakhe gajjate cAru bhaTTa thaTTeya jesiM vihAra visae kittI jAyA bhuvaNa bhUsA // 58 // paravAi cakkavAlaM vijjA guNa gavva pavvayArUDhaM saM namikarNa jesiM mAM pAe dhUlim // 59 // ahaM gAUNaM sayA samArAhaNaM kiyaM jesiM saMto muhatta vaMtA aha ahiyaM huMti guNavaMtA // 60 // caDa dikhi sAsaNa bhuvaNa karaNAthaM caupayANi rayANi / uvajJAya tiyaM cayaM vANAriya paya mahAyariyaM // 61 // ciNayA NamaMta sIsA aDasIsA jesi lada AsIsA saMjama guNa rAkhIsA paricata kasAyakAsIsA // 62 //

Page #408
kharatara gacchake AcAryoM sambandhI katipaya ajJAta ai0 racanAe~ : 35 indi dUsama samae sAhUNaM sAhu dhamma dhurajugge saMkhitte vara khitte ajA do ceva jehiM kayA // 63 // niya guNa mAhappeNaM aNanna sariseNa puhavi payaDeNaM / rAya vaNavIra mAlaga pamuha paya seva kAraviyA // 64 // muttI sasaMka muttI rattiM dIhaM kalA payAsiMtI jesiM vigaya kalaMkA vimhayayA kassa no jAyA // 65 // vijA maMtA taMtA jaggI kaMtA samAgayA saMtA kalikAle niratisae sAisayataM sayA pattA // 66 // aTTa duhaTTa viogoM dhamma jjhANe nioga sNjoge| aNuoge samibhogo jesiM maho kovimaNa jogo // 67 // jiNavara samayArAme nANAmiya keli lAlasamaNehiM pasama gaehiM jehiM na jANiyaM kAla pari galaNaM // 68 // savisesa nANa jhANA niyajIviya maMtagaM ca jANittA saga paTTa sikkha sikkhA dattA jehiM sahattheNaM // 69 // yeyabara verdai suhAkara vacchara assiNassa siya pakkhe bArasi divase saggaM pattA susamAhiNA jeya // 70 // nAgapure puri tesiM supasatthaM thUma muddharaM tityaM saMgheNaM kAraviyaM bhaviyANa manoramatya karaM // 71 // rajjaM rAeNa viNA viNA payAveNa no khamorAyA punneNa viNu payAvo taha tehi viNAya caMda kulaM // 72 // ajjavi surahai bhuvaNaM jesiM jasa kusuma seharo surahI kapUra pUra sariso bhavi mahuyara harisa rasa varaso // 73 // iya jiNaladdhI dhuNio taruNappaha sUriNA satittheNaM laliya sirI parikaliyaM vihi saMghe maMgalaM deu // 4 // // iti bhaTTAraka zrI jinalabdhisUripAdAnAM cahuttarI smaaptaa|| zrIjinalabdhisaristUpa namaskAra jA sUri rAu navalakkha kule pasUo, saccaMdagaccha vihi saMgha payAsa bhUo appuvva abbhuya pabhUya guNAbhirAmo, so me kareo jiNaladdhi gurU pasAyaM // 1 // jugavara jiNacaMdassUri sIsAvayaMsA, jiNapauma gurUNaM paTTa ujjoyakarA gurusiri jiNaladdhissUri rAyA, sayA te mama sayala samiddhiM sampasannAkuNaMtu // 2 //

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36 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha je jAyAvara saccaora nagare je paTTaNe dikkhiyA sUvajjhAya payA purA muNivarA je devarAepure sUriMdA puNa paTTaNe puravare nAgAbhihANe divaM pattA te jiNaladdhisUri pavarA huMtuSpasannA mama // 3 // kiM nANaM vara daMsaNaM kimahavA kiM cArucArittayaM kiM khaMtI kimu dhIrimAi suguNA vinijae jasto ikkikaM khalu nimmalaM nisvamaM kiM kiM tao vannae te pujA jiNaladdhi sUri guruNo niccaM pasIyaMtu me // 4 // // itizrIjinalabdhisUri pAdAnAM stUpanamaskArAH // zrIjiNa laddhigurUNaM niya mairaMjiya surAsura guruNaM vilasaMta parama paumaM thuNemithUbhami paya paumaM // 1 // so dhaNasiMho sA dhanna bhauNalA jAhiM saccapura nagare terasaya saTrivarise mAMgasirekira pasUo si // 2 // jiNacaMdasUrihatyeNa terasaya sattarIi tahiM mAe pattaM caritta rayaNaM teNa mahagyAsi pujjosi // 3 // siri jiNakusala gurUhi vijA pAraMgayassa tuha pucvaM teraha aTThAsIe datta muvajjhAya payamuciyaM // 4 // paTTaNa pureya vikkama caudahasayavaccharati AsADhe siri jiNapauma gurUNaM paTTe bhayavaM tamupaviho // 5 // taha punnasiriM da] ke ke naha vimhiyA havaMtigaro turahArisANa ahavA sUrINa suhaM havai sacvaM // 6 // tuha bahu loho jaM paya riddhie divvariddhi uvarimaNo ca udahacauttaraM te divaM gao nAgapuraotaM // 7 // evaM tuha siri jiNaladdhisUripAyA ThiyA thuyA thUbhe ni mahApasAya kuNatu vihi sayala saMghassa // 8 // // itizrI jinalabdhisUri pAdapanAnAM nAgapurasthita stUpasya stavanaM samAtaM // zubha saMvat 2021 mite vaizAkha zukra 3 akSayatRtIyA guruvAsare zrIkalikattA mahAnagayI ajImagaMjasthita saM0 1490 likhita zrIjinamadrasUri svAdhyAya pustikAt lipikRtam nAhaTA bhaMvaralAlena / zumaMbhavatu / / klyaannmstu||

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digambara paraMparAmeM AcArya siddhasena kailAzacandra zAstrI zAcArya siddhasena jaina paramparAke prakhyAta tArkika aura granthakAra the| jaina paramparAkI donoM hI " zAkhAoMmeM unheM samAna Adara prApta thaa| kintu Aja unakI kRtiyoMkA jo samAdara zvetAmbara paramparAmeM hai vaisA digambara paramparAmeM nahIM hai| kintu pUrvakAlameM aisI bAta nahIM thii| yahI dikhAnA isa lekhakA mukhya uddezya hai| nAmollekha upalabdha di0 jaina sAhityameM siddhasenakA sarvaprathama nAmollekha akalaMkadevake tattvArthavArtikameM pAyA jAtA hai| tattvArthasUtra ke prathama adhyAyake terahaveM sUtra meM Agata 'iti' zabdake aneka arthoMkA pratipAdana karate hue akalaMkadevane eka artha 'zabdaprAdurbhAva' kiyA hai| aura usake udAharaNameM zrIdatta aura siddhasenakA nAmollekha kiyA hai| yathA--- 'kvacicchandaprAdurbhAva vartate-iti, zrIdattamiti siddhasena miti' (ta0 vA0 pR0 57) zrIdatta digambara paramparAmeM eka mahAn AcArya ho gaye haiN| AcArya vidyAnandane apane tatvArtha zlokavArtikameM unhe vesaTha vAdiyoMkA jetA tathA 'jalpanirNaya' nAmaka granthakA kartA batalAyA hai| ataH unake pazcAt nirdiSTa siddhasena prasiddha siddhasena hI honA caahiye| akalaMkadevakI kRtiyoM para unake prabhAvakI carcA hama Age kreNge| ataH akalaMkadevane zrIdatta ke sAtha unhIMkA smaraNa kiyA, yahI vizeSa saMbhava pratIta hotA hai| guNasmaraNa vikramakI navIM zatAbdImeM digambara paramparAmeM do jinasenAcArya hue haiN| unameM se eka harivaMzapurANa ke 1 dviprakAraM jagI jalpaM tattvaprAtibhagocaram / triSaSThedinAM jetA zrIdatto jlpnirnnye|| 45 ||-t. zlo0 vA. pR0 280 /

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38 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava graMtha racayitA the aura dUsare the mahApurANa (AdipurANa) ke rcyitaa| donoMne hI apane apane purANoM ke prArambhameM apane pUrvaja AcAryoMkA smaraNa karate hue siddhasenakA bhI smaraNa kiyA hai| harivaMzapurANameM smRta AcAryoMkI nAmAvalI isa prakAra hai : samantabhadra, siddhasena, devanandi, vajrasUri, mahAsena, raviSeNa, jaTAsiMhanandi, zAnta, vizeSavA di, kumArasenaguru aura vIrasenaguru aura jinasena svaamii| ___ AdipurANameM smRta AcAyoMkI tAlikA isa prakAra hai : siddhasena, samantabhadra, zrIdatta, prabhAcandra, zivakoTi, jaTAcArya, kANa bhikSu, deva (devanandi), bhaTTAkalaMka, zrIpAla, pAtrakesarI, vAdisiMha, vIrasena, jayasena, kavi paramezvara / prAyaH sabhI smRta AcArya digambara paramparA ke haiN| unhIMmeM sarvopari siddhasenako bhI sthAna diyA gayA hai jo vizeSa svarUpase ullekhanIya hai| harivaMza purANakArane siddhasenakA smaraNa isa prakAra kiyA hai jagaprasiddhabodhasya vRSabhasyeva nistuSAH / bodhayanti satAM buddhiM siddhasenasya suuktyH||30|| jinakA jJAna jagatameM sarvatra prasiddha hai una siddhasenakI nirmala sUktiyAM RSabhadeva jinendrakI suktiyoM ke samAna sajanoMkI buddhiko prabuddha karatI haiN| isake pUrva samantabhadra ke vacanoMko vIra bhagavAnake vacanatulya batalAyA hai| aura phira siddhasenakI sUktiyoMko bhagavAna RSabhadevake tulya batalAkara unake prati eka tarahase samantabhadrase bhI adhika Adara vyakta kiyA hai| yahAM sUktiyoMse siddhasenakI kisI racanAvizeSa kI ora saMketa pratIta nahIM hotaa| kintu mahApurANameM to avazya hI unake sanmatisUtrake prati saMketa kiyA gayA hai| yathA pravAdikariyUthAnAM kesarI nayakesaraH / siddhasenakavirjIyAdvikalpanakharAGkuraH // 42 // siddhasena kavi jayavanta hoM, jo pravAdIrUpI hAthiyoM ke jhuNDa ke liye siMha ke samAna hai tathA naya jisake kesara (gardana parake bAla) haiM aura vikalpa paine nAkhUna haiN|| siddhasenakRta sanmatisUtra meM pradhAna rUpameM yadyapi anekAntakI carcA hai, tathApi prathama kANDameM anekAntabAdakI dena naya aura saptabhaMgIkI mukhya carcA hai| tathA dUsare kANDa meM darzana aura jJAnakI carcA hai, jo anekAntakI hI aMgabhUta hai| isa carcAmeM AgamakA avalambana hote hae bhI tarkakI pradhAnatA hai| aura tarkavAdameM vikalpajAlakI mukhyatA hotI hai jisameM phasAMkara prativAdIko parAsta kiyA jAtA hai| ataH jahAM sanmatisUtrake prathamakANDa siddhasenarUpI siMha ke nayakesaratvakA paricAyaka hai, vahAM dUsarA kANDa unake vikalparUpI paine nakhoMkA anubhava karAtA hai| darzana aura jJAnakA kevalImeM abheda siddha karaneke liye jo tarka upasthita kiye gaye haiM, pratipakSI bhI unakA lohA mAne vinA nahIM raha skte| ataH jinasenAcAryane avazya hI sanmatisUtrakA adhyayana karake siddhasenarUpI siMha ke usa rUpakA sAkSAtparicaya prApta kiyA thA, jisakA citraNa unhoMne apane mahApurANa ke saMsmaraNa meM kiyA hai| sanmatisUtrakI AgamapramANarUpameM mAnyatA yaha jinasena vIrasenasvAmI ke ziSya the aura vIrasenasvAmIne apanI dhavalA aura jayadhavalA TIkAmeM nayoMkA nirUpaNa karate hae siddhasena ke sanmatisUtrakI gAthAoMko sAdara pramANa rUpase uddhata

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. digambaraparaMparAmeM AcArya siddhasena : 39 kiyA hai| donoM TIkAoM meM nikSepoMmeM nayoMkI yojanA karate hue vIrasena svAmIne apane kathanakA sanmati ke sAtha avirodha batalAte hue sanmatisUtrako AgamapramANa ke rUpa meM mAnya kiyA hai| kintu sanmati sUtrake dusare kANDameM kevalajJAna aura kevaladarzanakA abheda sthApita kiyA gayA hai aura yaha abhedavAda jahAM kramavAdI zvetAmbara paramparA ke viruddha par3atA hai vahAM yugapadvAdI digambara paramparAke bhI viruddha par3atA hai| ataH siddhasena ke isa abhedavAdI matako jaise zvetAmbara paramparAne mAnya nahIM kiyA aura jinabhadragaNi kSamAzramaNane apane vizeSAvazyaka bhASyameM usakI kaThora AlocanA kI, vaise hI sanmatisUtrako AgamapramANake rUpa meM mAnya karake bhI vIrasenasvAmIne usameM pratipAdita abhedavAdako mAnya nahIM kiyA aura mIThe zabdoMmeM usakI carcA karake use amAnya kara diyaa| yaha eka ullekhanIya vaiziSTaya hai ki eka granthako pramANakoTimeM rakhakara bhI usake amuka matako amAnya kara diyA jAtA hai athavA amuka matake amAnya hone para bhI usa matake pratipAdaka granthako sarvathA amAnya nahIM kiyA jAtA aura usake racayitAkA sAdara saMsmaraNa kiyA jAtA hai| akalaMkadeva para prabhAva AcArya akalaMkadeva AcArya samantabhadrakI vANIrUpI gaMgA aura siddhasenakI vANIrUpI yamunAke saMgamasthala haiN| donoM mahAna AcAryoMkI vAgdhArAeM unameM sammilita hokara ekAkAra ho gaI haiN| samantabhadrake 'AptamImAMsA' para to akalaMkadevane aSTazatI nAmaka bhASya racA hai, kintu siddhasenake dvArA tArkika paddhatise sthApita tathyoMko bhI apanI anya racanAoMmeM svIkAra kiyA hai| usakA spaSTIkaraNa isa prakAra hai nayoMkI purAnI paramparA saptanayavAdakI hai| digambara tathA zvetAmbara paraMparAeM isa viSayameM ekamata haiN| kintu siddhasena divAkara naigamako pRthak naya nahIM maante| zAyada isIse vaha SaDnayavAdI kahe jAte haiN| akalaMkadevane apane tattvArthavArtika meM caturtha adhyAya ke antima sUtrake vyAkhyAna ke antargata nayasaptabhaMgIkA vivecana karate hue dravyArthika-paryAmArthika nayoMko saMgrahAdyAtmaka batalAyA hai tathA cha hI nayoMkA Azraya lekara saptabhaMgIkA vivecana kiyA hai| tathA laghIyastrayameM yadyapi naigamanayako liyA hai tathApi kArikA 67kI svopajJa vRtti meM sanmatikI gAthA 1-3kI zabdazaH saMskRta chAyAko apanAyA hai| yathA tisthayara vayaNa sNgrhvisesptthaarmuulvaagrnnii| dabaTrio ya pajjavaNao ya sesA vipryaasiN||-snmti / tathA. tIrthakaravacanasaMgraha vizeSaprastAvamUlavyAkariNau danyArthikaparyAyArthiko nishcetnyau| - la0 svo0 siddhasenane sanmatimeM eka naI sthApanA aura bhI kI hai| aura vaha hai paryAya aura guNameM abheda kii| arthAt paryAyase guNa bhinna nahIM hai| yaha carcA tIsare kANDameM gAthA 8se Arambha hotI hai| isa carcAkA upasaMhAra karate hue AcArya siddhasenane usakA prayojana ziSyoMkI buddhikA vikAsa batalAyA hai, kyoMki jinApedazameM na to ekAntase bhedabhAva mAnya hai aura na ekAntase abhedavAda, ataH ukta carcA ke liye avakAza nahIM hai| (sammati 3-25, 26) 1. kasAyapAhuDa, bhA0 1, pR0 261 / SaTakhaNDAgama pu0 1, pR0 15 / pu0 9 pR. 244 / pu. 13, pR0 354 / kasAyapAhuDa, bhA 1, pR0 357 / 3 pR0 261 / 2.

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40 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava graMtha akalaMkadevane bhI tatvArthavArtikameM pAMcave adhyAyake 'guNapayAyavad dravyam // 37 // ' sUtrake vyAkhyAna meM ukta carcAko uThAkara usakA samAdhAna tIna prakArase kiyA hai| prathama to AgamapramANa dekara guNakI sattA siddhakI hai, phira 'guNa eva paryAyAH' samAsa karake guNako paryAyase abhinna batalAyA hai| yahI AcArya siddhasenakI mAnyatA hai| isa parase yaha zaMkAkI gaI hai ki yadi guNa hI paryAya haiM to kevala guNavat dravya yA paryAyavat dravya kahanA cAhiye thA-'guNaparyAya vad dravya' kyoM kahA? to uttara diyA gayA ki jainetara matameM guNoMko dravyase bhinna mAnA gayA hai| ataH usakI nivRtti ke liye donoMkA grahaNa karake yaha batalAyA hai ki dravya ke parivartanako paryAya kahate hai| usIke bheda guNa haiM, guNa bhinnajAtIya nahIM haiN| isa prakAra isa carcA meM bhI akalaMkadevane siddhasena ke matako mAnya kiyA hai| ataH akalaMkadeva para siddhasenakA prabhAva spaSTa hai| AcArya vidyAnanda aura siddhasena __ AcArya vidyAnanda eka tarahase akalaMkake anuyAyI aura TIkAkAra the| unhoMne samantabhadra ke AptamImAMsA aura usa para akalaMkadevake aSTazatI bhASyako AveSTita karake aSTasahasrI nAmaka mahAn racanAkI thii| tathA jaise nyAyadarzana ke sUtroM para udyotakarakI nyAyavArtikase prabhAvita hokara akalaMkadevane tattvArthasUtra para tattvArthavArtikakI racanAkI thI, vaise hI vidyAnandane mImAMsaka kumArila ke mImAMsA zlokavArtikase prabhAvita hokara tattvArthasUtra para tattvArthazlokavArtikakI racanA kI thii| isa tattvArthazlokavArtikameM prathama adhyAyake antima sUtra para nayoMkA sundara saMkSipta vivecana hai| isa vivecanake antameM granthakArane likhA hai ki vistArase nayoMkA svarUpa jAnane ke liye nayacakrako dekhanA caahiye| yaha nayacakra saMbhavatayA mallavAdIkRta nayacakra honA cAhiye; kyoMki upalabdha devasenakRta laghunayacakra aura mAila dhavala kRta nayacakra prathama to saMkSipta hI haiM, vistRta nahIM hai, inase to vidyAnandane hI nayoMkA svarUpa adhika spaSTa likhA hai; dUsare, ukta donoM hI granthakAra vidyAnandake pIche hue haiN| ataH vidyAnanda unakI kRtiyoMko dekhane kA ullekha nahIM kara sakate the, astu / isa nayacarcA meM vidyAnandane siddhasenake Sar3anayavAdako svIkAra nahIM kiyA, balki usakA virodha kiyA hai| unakA kahanA hai ki naigamanayakA antarbhAva na to saMgraha meM hotA hai, na vyavahArameM aura na RjusuutraadikmeN| ataH parIkSakoMko 'saMgraha Adi chai naya hI haiN| aisA nahIM kahanA caahiye| saMgrahe vyavahAre vA nAntarbhAvaH smiikssyte| naigamasya tayorekavastvaMzapravaNatvataH // 24 // narjasUtrAdiSu proktahetavo veti ssnnnyaaH| saMgrahAdaya eveha na vAcyAH praparIkSakaiH // 25 // -ta0 zlo0 vA0 6,269 / yahAM 'praparIkSaka' zabda saMbhavatayA siddhasenake liye hI AyA hai, kyoMki parIkSAke AdhAra para unhoMne hI baDanayavAdakI sthApanA kI thii| parIkSakake sAtha prakarSavake sUcaka 'pra' upasargase bAtakI puSTi hotI hai, kyoMki siddhasena sAdhAraNa parIkSaka nahIM the| isI taraha vidyAnandane pAMcave adhyAyake 'guNaparyAyavada dravyam' isa sUtrakI vyAkhyA guNa aura paryAyameM abheda mAnakara bhI siddhasenAnugAmI akalaMkakA anukaraNa nahIM kiyA, kintu guNa aura 1. saMkSepeNa nayAstAvad vyAkhyAtAstatra suucitaaH| tadvizeSAH prapaJcena saMcintyA nayacakrataH // 102 / / ta00 vA0 pR. 276

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digambaraparaMparAmeM AcArya siddhasena : 41 paryAya donoM ke grahaNa ke AdhAra para eka aisA tathya phalita kiyA jo anekAntadarzanake itihAsa meM ullekhanIya hai| unhoMne likhA hai guNavadvyamityuktaM shaanekaantsiddhye| tathA paryAyavadravyaM krmaanekaantvittye||2||-t. zlo0 vA0 pR0 438 sahAnekAntakI siddhi ke liye 'guNavad dravyam' kahA hai| tathA kramAnekAntake bodhake liye 'paryAyavad dravyam' kahA hai| arthAt anekAnta ke do prakAra haiM : sahAnekAnta aura krmaanekaant| parasparameM virodhI pratIta honevAle dharmokA eka vastumeM svIkAra anekAnta hai| unameM se kucha dharma to aise hote haiM jo vastumeM sAtha sAtha raha sakate hai jaise astitva, nAstitva, nityatva, anityatva; kintu kucha dharma aise hote haiM jo kAlakramase eka vastumeM rahate haiM, jaise sarvajJatA aura asarvajJatA, muktatva aura saMsAritva / guNa sahabhAvI hote haiM aura paryAya kamabhAvI hotI haiM ataH ekase sahAnekAnta pratiphalita hotA hai to dUsarese kramAnekAnta / isa taraha vidyAnandane siddhasenake matoMko amAnya yA prakArAntarase mAnya karate hue bhI tattvArthazlokavArtikake prArambhameM hI hetuvAda aura AgamavAdakI carcAke prasaMgase samantabhadrake AptamImAMsAke 'vaktaryanAte' ityAdi kArikAke pazcAt hI pramANarUpase siddhasena ke sanmatise bhI 'jo heduvAdaparakammi' Adi gAthA uddhRta karake siddhasenake prati bhI apanA AdarabhAva vyakta kiyA hai, yaha spaSTa hai| TIkAkAra sumatideva vidyAnandase pahale aura saMbhavatayA akalakadevase bhI pUrva digambara paramparAmeM sumatideva nAmake AcArya ho gaye haiN| zravaNabelagolAkI malliSeNaprazastimeM kundakunda, siMhanandi, vakragrIva, vajranandi aura pAtrakesarI ke bAda sumatideva kI stuti kI gaI hai aura unake bAda kumArasena, varddhadeva aura akalaMkadevakI / isase sumatideva prAcIna AcArya mAlUma hote haiN| pArzvanAthacarita(vi0 saM0 1082)ke kartA vAdirAjane prAcIna granthakAroMkA smaraNa karate hue likhA hai-- namaH sanmataye tasmai bhavakUpanipAtinAm / sanmatirvivRtA yena sukhadhAmapravezinI // 22 // arthAt usa sanmatiko namaskAra ho jinane bhavakUpa meM par3e hue logoMke liye sukhadhAmameM pahu~cAnevAlI sanmatiko vivRta kiyA arthAt sanmatikI vRtti yA TIkA rcii| ___yaha sanmati siddhasenakRta hI honA caahiye| 'namaH sanmataye' meM 'sanmati' nAma sumati ke liye hI AyA hai| donoMkA zabdArtha eka hI hai| kintu sanmati ke sAtha sanmatikA zabdAlaMkAra honese kAvyasAhitya meM sumati ke sthAnameM sanmatikA prayoga kiyA gayA hai| jaina granthoM meM to sumatidevakA koI ullekha nahIM milatA, kintu bauddha dArzanika zAntarakSitane apane tattvasaMgrahake syAdvAdaparIkSA aura bahirarthaparIkSA nAmaka prakaraNoMmeM sumatinAmaka digambarAcAryakI AlocanA kI hai| yaha sumati sanmati TIkAke kartA hI hone caahiye| saMbhavatayA usI meM carcita matakI samIkSA zAntarakSitane kI hai| vaise maliSeNaprazastimeM unake sumatisaptaka nAmaka granthakA bhI ullekha hai| yathA--

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42 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava graMtha sumatidevamamuM stuta yena vaH sumatisaptakamAptatayA kRtam / parihRtApathatattvapathArthinAM sumatikoTi vivartibhavAtihat / / astu, jo kucha ho, kintu itanA nizcita hai ki digambarAcArya sumatine, jo sambhavatayA vikramakI sAtavIM zatAbdIse bAdake vidvAna nahIM the. siddhasena ke sanmati para TIkA racI thii| isa taraha siddhasenakA sanmatitarka sAtavIM zatAbdIse nauvIM zatAbdI taka digambara paramparAmeM Agamika granthake rUpameM mAnya rhaa| saMbhavatayA sumatidevakI TIkAke lupta ho jAne para aura zvetAmbarAcArya abhayadevakI TIkAke nirmANake pazcAt digambara paramparAmeM usakI mAnyatA lupta ho gaI aura use zvetAmbara paramparAkA hI grantha mAnA jAne lgaa| kintu vaha eka aisA anamola grantha hai ki jainadarzanake abhyAsIko usakA pArAyaNa karanA hI caahiye| sanmatitarka ke sivAya, jo prAkRtagAthAbaddha hai, saMskRtakI kucha battIsiyAM bhI siddhasenakRta haiN| unameMse eka battIsIkA eka caraNa pUjyapAda devane sarvArthasiddhi TIkA ke saptama adhyAya ke 13veM sUtrakI vyAkhyAmeM uddhRta hai 'viyojayati cAsubhirna ca vadhena saMyujyate' akalaMkadevane bhI apane tattvArthavArtikameM ukta sUtrakI vyAkhyAmeM use uddhRta kiyA hai| aura vIrasenasvAmIne to jayadhavalA TIkA(bhA0 1, pR0 108)meM ukta caraNase sambaddha pUrA zloka hI uddhRta kiyA hai| tathA akalaMka devane tattvArthavArtikameM AThaveM adhyAyake prathama sUtrakI vyAkhyAmeM bhI eka padya uddhRta kiyA hai jo prathama dvAtriMzatikAkA tIsavAM padya hai| isa taraha siddhasenakI kucha dvAtriMzatikA bhI chaThI zatAbdIse hI digambara paramparAmeM mAnya rahIM haiN| inhIM dvAtriMzatikAoMmeM nyAyAvatAra bhI hai aura siddhasenakRta mAnA jAne ke kAraNa use usake nAmake anurUpa jaina paramparAmeM nyAyakA prathama grantha mAnA jAtA hai| kintu usameM aneka vipratipattiyAM haiM, aura ve abhI taka nirmUla nahIM huI haiN| ataH tatsambandhI vivAdako na uThAkara itanA hI likhanA paryApta samajhate haiM ki usakI digambara paramparAmeM koI mAnyatA nahIM miltii| isa taraha digambara paramparAmeM AcArya siddhasena apanI prakhyAta dArzanika kRti sanmati sUtra yA sanmatitarkake dvArA vizeSa rUpase samAhata hue haiN| CAR 16ORTAMAN

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gvAliyara-durgake kucha jainamUrti-nirmAtA evaM mahAkavi raidhU rAjArAma jaina jainamUrtikalA kI dRSTi se gvAliyara - durgakA apanA vizeSa mahattva hai| vahA~ para prApta sabhI jaina mUrtiyoM ke prAcIna itihAsakA sAGgopAGga adhyayana to abhI taka nahIM ho sakA hai, phira bhI isake pramANa upalabdha haiM ki nauvIM sadI IsvIse vahA~ ukta kalAkA uttarottara vikAsa hotA rhaa| 11-12vIM sadI meM to gvAliyara-nagara athavA durgameM hI nahIM balki samasta madhyabhAratameM jainamUrtikalAke sAtha-sAtha jainadharma evaM sAhityakA bhI pracura pracAra rhaa| isa sandarbha meM impIriyala gajaiTiyara'kA nimna ullekha mahattvapUrNa hai: "In the eleventh and twelveth centuries the Jain Religion was the cheif form of worship of the highest classes in Central India and the remains of temples and images belonging to this sect are with all over the agency" Age calakara usake pracara rUpase vikasita honeke pramANa 15-16vIM sadI meM punaH prApta hote haiM, jo kaI dRSTiyoMse mahattvapUrNa haiN| gvAliyara-durgameM upalabdha jaina mUrtiyA~ tathA unake abhilekhoMkA gahana adhyayana kiyA jAya to tatkAlIna madhyabhAratIya itihAsakI kaI pracalita mAnyatAoM para nayA prakAza par3a 1 Imperial Gazetteer of India Vol. IX, 1908 A.D., Page 353. ukta gajeTiyarameM jisa samayakI bAta kahI gaI hai, usa samaya vahA~kI pradhAna jAtiyoM meM jaina-jAtikI gaNanA hotI thii| unakI Ayu, samRddhi, svAsthya evaM zikSAke sambandhameM bhI nimna ullekha dRSTavya haiM : "The age statistics show that the Jainas, who are the richest and best nourished community, live the longest, while the Animists and Hindus show the greatest fecundity," (Page 348.) ...Omitting Christians and others (chiefly Parsis) Jainas are the best educated community 19% being Literate, while Mosalmans come next with 8% followed by Hindus with 3% (Page 348).

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44 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha sakatA hai| jaina sAhitya evaM kalA ke vikAsa kI dRSTise ukta kAla svarNakAla hI kahA jA sakatA hai| isa svarNakAlakA janaka tomaravaMzI rAjA DUMgarasiMha (vi0 saM0 1481 - - 1510 ) evaM unakA putra rAjA kIrtti - siMha (vi0 saM0 1510 - 1536 ) hai / inhIM rAjAoMke samaya meM apabhraMza bhASAMke dhurandhara mahAkavi raddadhU bhI hue.. haiM, jinhoMne lagabhaga tIsase bhI adhika vizAla granthoMkA praNayana kiyA thA, jinameMse abhI caubIsa hastalikhita grantha upalabdha haiM / agnI devI pratibhA, ojasvI kavitA, agAdha pAMDitya, kaThora sAdhanA evaM sahaja evaM udAra svabhAva ke kAraNa gvAliyara rAjya meM aise lokapriya hue ki ve vahA~ke jana-jana ke kavi evaM zraddhAbhAjana bana gae / vidyArasika tathA jainadharmake paramazraddhAlu rAjA DUMgarasiMha to unake vyaktitva se aise prabhAvita hue ki unhoMne kaviko apane durgameM hI rahakara use apanI sAhitya - sAdhanAkA keMdra banAnekA sAgraha anurodha kiyA, jise kavine svIkAra bhI kara liyA thA / kavine svayaM likhA hai - govagiriduggami NivasaMta u bahusuheNa tahiM / sammai0 113 | 10 mahAkavi raidhU jaina the ataH samasta jaina samAja bhI unakA anuyAyI thA / jo arthahIna the ve darzanasparzanase kRtakRtya hote the tathA jo dhanakubera the ve usake saMketapara apanI gADhI kamAI kI thailiyoMkA sadupayoga karaneke liye tatpara rahate the| aise logoM meM saMghavI kamalasiMha, khelhA brahmacArI, asapati sAhU, raNamala sAhU, kheU sAhU, loNA sAhU, harasI sAhU, bhulaNa sAhU, tosau sAhU, hemarAja, khemasiMha sAhU, AhU sAhU, saMghavI nemadAsa, zramaNabhUSaNa kunyudAsa, holU sAhU evaM kuzarAja Adike nAma ullekhanIya haiN| dhU - sAhitya ke nirmANameM ukta zrAvakoMne unheM AzrayadAna diyA thA aura unhIMkI satpreraNAse kavine apane granthoMkA praNayana kiyA thA / granthoMkI Adyanta prazastiyoMse ukta zrAvakoMkI 12-12 pIr3hiyoM takakA vistRta vivaraNa upalabdha hotA hai, jinase gvAliyarakI tatkAlIna sAmAjika, Arthika, rAjanaitika, dhArmika, sAhityika Adi paristhitiyoM para paryApta prakAza par3atA hai / ukta dhanakubera zrAvakoMmeMse saMghavI kamalasiMha, khelhA brahmacArI, asapati sAhU, saMdhAdhipa nemadAsa Adike nAma atyanta pramukha haiM / inhoMne raidhUkI AjJAse jainamUrttiyoMkA nirmANa evaM unake pratiSThAsamArohoMmeM apanI nyAyopArjita aTUTa dravyarAzikA sadupayoga kiyaa| mahAkavi rahadhUne saMghatrI kamalasiMhako gopAcalakA " tIrthanirmAtA" kahA hai, jo upayukta hI hai / kamalasiMhakI preraNAse likhe gaye dhUkRta 'sammataguNaNihANakatra kI prazastike anusAra kamalasiMhane gvAliyara- durgameM eka vizAla AdinAtha bhagavAnakI mUrttikA nirmANa evaM pratiSThA karAI thI / anya mUrtti evaM mandira nirmAtAoM tathA pratiSThAkarttAoMke kAryoM meM bhI inakA sakriya sahayoga rahatA thaa| eka bAra kamalasiMhane apanI AdinAtha bhagavAnakI mUrttikI pratiSThA ke liye jaba rAjA DUMgarasiMhase AjJA cAhI taba DUMgarasiMhane unheM kevala apanI svIkRti mAtra hI pradAna na kI balki do Adarza rAjAoM-soraThake rAjA vIsaladeva evaM joginIpurake rAjA perojasAhi--- dvArA prajAjanoMmeM zreSTha vastupAla- tejapAla evaM sAragasAhuko pradatta dhArmika kAryoM meM hara prakArake sAhAyyakA ullekha karate hue kahA ki maiM bhI apane rAjya meM unhIM rAjAoMke AdarzoM kA pAlana karatA hU~ / ataH AdinAthakI pratiSThA ke samaya tuma " jo-jo mA~goge vahI vahI dU~gA (jaM jaM maggahu taM taM desami) / tuma apanA dharmakArya nizcintatApUrvaka sampUrNa kro| " itanA kahakara rAjAne raidhU - sAhityake paricaya ke liye "bhikSu smRti grantha " - kalakattA (1961) meM prakAzita " sandhikAlIna apabhraMzabhASA ke mahAkavi raghU " nAmaka merA nibandha draSTavya hai / 2 sammatta0 1/15/41 3 1 sammattaguNaNihANakatrva 1 | 11 |

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gvAliyara-durga ke kucha jainamUrti-nirmAtA evaM mahAkavi raidhU : 55 kamalasiMhako sammAna svarUpa apane hAthase pAnakA bIr3A diyaa| kamalasiMha bhI prasannatApUrvaka vApisa apane ghara AyA aura dUsare hI dina pratiSThA samArohakA kArya prArambha kara diyaa| ukta vizAla mUrti ke pratiSThA-kAryako sampanna karanevAle the mahAkavi tathA pratiSThAcArya ridh| isa mUrti para utkIrNa abhilekhase bhI isakA samarthana hotA hai ki mUrtinirmAtA kamalasiMha thA tathA pratiSThAcArya the raidhU / antara itanA hI hai ki mUrtilekhameM kamalasiMhake nAmake sthAna para 'kAlA' zabda par3hA gyaa| kintu usameM yA to lekhavAcakako kucha bhrama huA hai athavA pratIta hotA hai ki zIta, garmI evaM barasAta ke mausamI prabhAvane bIca-bIcameM abhilekhako prabhAvita karake hI 'kamalasiMha'ko 'kAlA' banA diyA hai| vastutaH vaha 'kAlA' nahIM 'kamalasiMha' hI hai, kyoMki raidhakRta 'sammattaguNa NihANakatva'kI prazastimeM ullikhita kamalasiMhakI vaMzAvalI tathA lekhakI vaMzAvalI Adi sabhI sadRza haiN| dUsarA mUrti-nirmAtA thA khelhA brahmacArI, jo hisArakA nivAsI thA tathA jisakA vivAha kurukSetrake nivAsI sahajA sAhUkI pautrI evaM tejA sAhUkI putrI kSemI ke sAtha huA thaa| santAna-lAma na honese inhoMne apane bhatIje hemAko gRhasthIkA bhAra sauMpakara brahmacarya dhAraNa kara liyA thA tathA usI sthitimeM unhoMne gvAliyara-durgameM candraprabha bhagavAnakI mUrtikA nirmANa tathA kamalasiMhake sahayogase zikharabanda mandirakA nirmANa aura sAtha hI mUrtipratiSThAkA kArya sampanna karAyA thaa| raidhUne likhA hai : tumhaha pasAeNa bhavaduhakayaMtassa / sasipahajiNedassa paDimA visuddhassa // kArAviyA maI ji govAyale tuMga / uDucAvi NAmeNa titthammi suhasaMga // AjAhiyA hANa mahu jaNANa supavitta / jiNadeva muNipAya gaMdhova sirasitta // dullaMbhu Narajammu mahu jAi ihu diNNu / saMgahivi jiNadikkha mayaNAri jiM chipaNu // tahiM paDhiya uvayAraM kAraNena jiNasutti / kArAviyA tAhi suNimitta sasiditti // kalikAlu jiNadhamma dhura dhAra pUDhassa / tijayAlaye sihari jasa sujjha rUDhassa / / siri kamalasiMhassa saMghAhivasseva / susahAyaeNAvi taM siddha iha deva // ___ (sammai0 1 / 4 / 11-19) gvAliyara-durgakA tIsarA mUrti-nirmAtA hai asapati sAhU, jisakA pitA tomaravaMzI rAjA DUMgarasiMhakA sambhavataH khAdya evaM ApUrti maMtrI (Food and Civil Supply Minister) thaa| cAra bhAiyoma yaha maMjhalA bhAI thaa| caturvidha saMghakA bhAravahana karanese isane "saMghapati" kI upAdhi prApta kI thii| vidyArasika, dharmaniSTha evaM samAjakA pradhAna hone ke sAtha-sAtha vaha kuzala rAjanItijJa bhI thaa| pratIta hotA hai ki vaha bhI samakAlIna rAjA kIrtisiMhakA dIvAna, surakSAmantrI athavA pradhAna salAhakAra thaa| isane zraddhAvaza aneka jainamUrtiyoM evaM mandiroMkA nirmANa evaM unakI pratiSThAeM karAI thiiN| raidhUne kahA hai : vIyau puNu parauvayAralINu / jigaguNapariNaya uddhariyadINu // jiNi kArAviu jiNuharu saseu / dhayavaDa patihiM rahasUrateu // 1 jaina zilAlekha saMgraha tRtIya bhAga, (mANika. sIrIja, bambaI, vi0 saM0 2013) lekhAMka 633 / 2 sammattaguNaNihANakavva 4 / 35 / 3 sammainiNacariu 10 / 34 / 17-34 /

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46 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha NiyamaMtattaNi raMjiyau rAu / sAvayavihANa kammANurAu // paraNAriparammuhu vigayalohu / asapatti sAhu jaNajaNiyamohu // (sAvaya0 1144-7) tathApuNu vIyau gaMdaNu sakiyacche / rajjakajjadhuradharaNasamacche / saMghAhiu asapatti asaMkiu / sasipahakaraNimmalajasaaMkiu / NirasiyapAvapaDalaNiuruMbada / jeNa paiTTAviya jiNabiMbai // (saavy06|2616-8.) cauthA mUrti-nirmAtA thA saMghAdhipa nemdaas| inakI bhIkhA evaM mANiko nAmakI do patniyA~ thiiN| nemadAsa yoginIpurake nivAsI the| ve vahA~ke vaNikzreSThoMmeM agragaNya tathA samakAlIna rAjA pratAparUdra cauhAna (vi0 saM0 1506ke AsapAsa) dvArA sammAnita the| inake choTe caturtha bhAI vIrasiMhane giranArayAtrA kI thii| inake pitAkA nAma tosau thA tathA vaMza somavaMzake nAmase prasiddha thaa| nemadAsane gvAliyara tathA anya kaI sthAnoM para pASANa evaM dhAtukI bahuta-sI mUrtiyoM evaM gaganacumbI jinamandiroMkA nirmANa karAyA thaa| raidhUkA AzIrvAda unheM prApta thA ataH dhArmika evaM sAhityika kAryoM meM ve sadA inake sAtha rahate the| raidhUkRta puNNAsavakahAkI Adyanta prazastimeM inhIM bAtoMkA isa prakAra ullekha kiyA gayA hai: ... / saMghAhiva NAmeM midAsu // .. aggesaru NivavAvArakaji / sumahaMtapurisapaharuddaraji // jiNabiMba aNeya visuddhboh| Nimmavivi duggaipahaNiroha // supaiTTha kArAviu suhamaNeNa / titthesagottu baMdhiyau jeNa // puNu suravimANasamu siMha kheU / Niyapahakarapihiyau caMdateu / kArAviu jiM jiNaNAhabhavaNu / mithyAmayamohakasAyasamaNu / / (puNNAsava0 115 / 6-11). bho raidhU buha vaDiyapamoya / ... saMsiddha jAya tuhu paramamittu / tau vayaNAmiyapANeNa tittu // pai kiya paiTTamahu suhamaNeNa / jAjaya pUriya dhaNakaMcaNeNa // puNu tuva uvaeseM jiNavihAru / kArAviu maI duriyAvahAra // (puNNAsava0 1618-11.) ... tAhaM paDhamu buhayaNa vkkhaannit| Niva payAvarudda sammANiu // bahuvidhAuphalihavidrumamau / kArAveppiNu agaNiya paDimau // patiTThAvivi suhu Avajiu / sirititthesaragottu samajiu / / jiMNahalaggi siharu ceiihru| puNa NimmAviya ssikrphhru|| NemidAsu NAmeM saMghAhiu / jiM jiNasaMghabhAraNivAhiu // (puNNAsava0 13 / 2 / 2-6). raidhUne sahajapAlake eka putra sahadeva saMghapatiko bhI mUrtipratiSThApaka kahA hai| lekina isake sambandha tathA a mw-- 1 sammai0 1 / 8 / 4 tathA 10 / 32 / 1-6.

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gvAliyara-durgake kucha jainamUrti nirmAtA evaM mahAkavi raidhU : 47 meM anya koI vizeSa vivaraNa upalabdha nahIM hotA / jo bhI ho, itanA nizcita hai ki raidhUke pUrvavartI evaM meM gvAliyara durgameM jainamUrtiyoMkA itanA adhika nirmANa huA ki jinheM dekhakara raidhUko likhanA par3A:agaNiya kSaNa paDima ko lkkhi| suraguru tAha gaNaNa Nai akkhi|| sammatta0 14135 gvAliyara-durgakI jainamUrtiyoM ko kavine agaNita kahA hai, yaha ucita hI hai| rAjA DUMgarasiMha evaM unake putra rAjA kIrtisiMha donoMne hI kula milAkara 33 varSoM taka jainamUrtiyoM ke nirmANakA kArya sampanna kiyA thaa| isa viSayameM suprasiddha itihAsakAra hemacandra rAyakA kathana ullekhanIya hai : He (Dunger Singh) was a great patron of the Jaina faith and held the Jainas in high esteemi. During his eventful reign the work of carving Jaina images on the rock of the fort of Gwalior was taken in hand; it was brought to completion during the reign of his successor Raja Karansingh (or Kirtisingh). All around the base of the fort, the magnificent statues of the Jaina pontiffs of antiquity gaze from their tall niches like mighty guardians of the great fort and its surrounding landscape. Babur was much annoyed by these rock sculptures as to issue orders for their destruction in 1557 A.D. mUrtimaJjaka bAbarake usa AdezakA aMgrejI anuvAda kaniMghamane isa prakAra kiyA hai: "They have hewn the solid rock of this Adiva and sculptured out of it idols of longer and smaller size. On the south part of it is a large size which may be about 40 feets in height. These figures are perfectly naked without even a rag to cover the parts of generation. Adivam is far from being a mean place, on the contrary, it is extremely pleasant. The greatest fault consists in the idol figures all about it. I directed these idols to be destroyed." ___ gvAliyara-durgakI jaina mUrtiyoMko Adhunika dRSTise prakAzameM lAnevAloMmeM sarvaprathama zreya phAdara mANTaserATa (Father Monteserrat)ko hai, jo eka yorupiyana ghumakkar3a the tathA jinhoMne samrATa akabara ke samayameM bhAratakI padayAtrA kI thii| unhoMne sUratase dillI jAte samaya gvAliyara-durgakI jaina mUrtiyoMke darzana kiye the aura kucha dina rukakara unake itihAsa para kucha prakAza DAlanekA prayAsa kiyA thaa| ukta mANTesarrATake bAda janarala kaniMghamane gvAliyara-durgakI jaina-mUrtiyoMkA kucha vivecana kiyaa| 1 Romance of the fort of Gwalior. (1931) Pages 19-20. 2 Murry's Northern India, Page 381-382. 3 bAbarane bhUlase AdinAthakI mUrtikI U~cAI 40 phITa likha dI, vastuta: vaha 57 phITa U~cI hai| 4 bAbara dvArA upayukta 'adivA' zabdakA artha kAdhama Adi kisIne bhI spaSTa nahIM kiyaa| mere khyAlase bAbarane 'AdinAtha ke liye ukta zabdakA prayoga kiyA hai| 5 Asiatic Researches Vol. IX, Page 213.

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48 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha kaniMghama ke bAda bhI logoMne unapara likhA hai avazya, kintu vaha saba kaniMghama sAhabakI nakala athavA unake kathanakA sArAMza mAtra hI hai| kaniMghamane ukta mUttiyoM kI kalAse prabhAvita hokara likhA hai':-- The (Jaina) rock sculptures of Gwalior are unique in northern India, as well for their number, as for their gigantic size. iNDiyana sTeTa relave ke prakAzana vibhAgane bhI apanI gvAliyara sambadhI eka pustikAmeM ukta mUrtiyoMko Rock giants kI upamA dete hae likhA hai: Round the base of Gwalior-fort are several enormous figures of the Jaina Tirthankaras or pontiffs which vie in dignity with the colossol effigies of that greatest of all self advertisers, Ramses II, who plastered Egypt with records of himself and his acheivements. These Jaina statues were excavated from 1440-73. A.D. upalabdha vividha sAmagrI ke AdhAra para likhita yahI hai gvAliyara-durgakI kucha jainamUrtiyoMkI atisaMkSipta khaanii| gvAliyara-durgako jaba "Pearl in necklace of the castles of Hind" kahA gayA hai taba bhalA usameM sAmAnya mUrtiyoMkA nirmANa kaise kiyA-karAyA jAtA? unakA kalA-vaibhava adbhata hai| ve apanI saumyatA evaM bhavyatAmeM hor3a lagAtI-sI pratIta hotI haiN| jina marmI kuzala kalAkAroMne inheM gar3hA hogA ve Aja hamAre sammukha nahIM haiM, unake nAma bhI ajJAta haiM, unhoMne isakI paravAha bhI na kI hogI kintu unakI anokhI kalA, anupama zilpa-kauzala, atulita dhairya evaM aTUTa sAdhanA mAnoM ina mUrtiyoMke mAdhyamase hamAre sAmane sAkAra upasthita hai| aura unake nirmAtA saMghavI kamalasiMha, khelhA, asapati, nemadAsa evaM sahadevake sambandhameM kyA likhA jAya ? unake AsthAvAn vizAla hRdayoMmeM jo zraddhA-bhakti samAhita thI, usake mApana hetu vizvameM zAyada hI kahIM mApayantra mila ske| hA~, jinake 'divya netra vikasita haiM, jo kalA-vijJAnakI antarAtmAke niSNAta haiM, jo itihAsa evaM saMskRti ke amRtarasameM sarAbora haiM, ve ukta mUrtiyoMkI bhavyatA, saumyatA, vizAlatA evaM kalAkA sUkSma nirIkSaNa kara unake hRdayakI gaharAIkA anumAna avazya lagA sakate haiN| aura una nirmANa karAnekI preraNA dekara unameM prANapratiSThA karAnevAle raidhU! jisakI mahatI kRpAse kurUpa, upekSita evaM bhadde AkArake karkaza zilApaTTa bhI mahAnatA, zAnti evaM tapasyAke mahAna Adarza bana gaye, Ubar3a-khAbar3a evaM bhayAnaka sthAna tIrthasthaloMmeM badala gaye, utpIDita evaM santapta prANiyoMke liye jo ArAdhanA, sAdhanA evaM manorathaprAptike pavitra mandira evaM varadAnagRha bana gye| jJAnAmRtakI ajasra dhArA pravAhita karanevAle usa mahAn AtmA, sudhI, mahAkavi rahadhUke guNoMkA stavana bhI kaise kiyA jAya? merI dRSTise usake samagra kAryoMkA prAmANika vivecana evaM prakAzana hI usake guNoMkA stavana evaM usake prati maccI zraddhAJjali hogI tathA sAhitya aura kalA jagat tabhI usake mahAn RNase uRNa ho skegaa| 1 2 Murry's Northern India, Pages 381-382. 'Gwalior' published by the publicity Deptt. Indian state Rly. 1956.

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mer3atAse vijaya jinendrasUriko vIramapura preSita sacitra vijJaptipatra bhaMvaralAla nAhaTA jaina dharmameM tIrthaMkaroMke bAda AcAryoM kA ullekhanIya sthAna hai| kyoMki jaina zAsanakA saMcAlana unhIM ke ' dvArA hotA hai| sAdhu-sAdhvI, zrAvaka-zrAvikA caturvidha saMghako dharmameM pravRtta karAnekA aura zAsana rakSaNakA bhAra unhIM para hotA hai| isaliye jisa taraha rAjA-mahArAjAoMkA rAjya zAsana calatA hai usI taraha AcAryoMkA dhrm-shaasn| rAjAoMkI taraha hI unakA mAna-sammAna aura AjJAoMkA pAlana kiyA jAtA hai| jaina zAsanako ina AcAryoMne hI baDI sUjha-bUjhase aba taka TikAye rakhA aura saba prakArase unnati kii| unake Agamanase dharma jAgRtikA srota umaDa paDatA hai| isaliye pratyeka grAmanagaroMke zrAvaka-zrAvikA saMgha, AcAryoko apane yahAM bulAne, cAturmAsa karaneko utkaMThita rahatA hai| unheM apane yahAM padhAraneke liye jo vijJapti yA vinaMtipatra bheje jAte the ve itane vidvattA aura kalApUrNa taiyAra kiye jAne lage ki eka tarahase ve khaNDakAvya aura citra-gelerI jaise bana gye| aise mahatvapUrNa aura vaividhyapUrNa aneko vijJaptipatra Aja bhI prApta haiN| baDaudAse sacitra vijJaptipatroM saMbaMdhI eka grantha kAphI varSa pahale prakAzita huA thaa| isake bAda saMskRtake aneka vijJapti-kAvyoMkA eka saMgraha muni jinavijayajIne prakAzita kiyA thaa| para abhI taka bahutase aise mahatvapUrNa vijJaptipatra idhara-udhara bikhare par3e hai jinakI ora kisIkA dhyAna hI nahIM gyaa| yahAM aise hI eka sacitra vijJaptipatrakI nakala prakAzita kI jA rahI hai, jo gujarAta aura rAjasthAna ina donoMke liye vizeSa mahatvapUrNa hai| abase 155 varSa pahale(saMvat 1867)ko yaha patra mer3ateke zrIsaMghakI orase vIramapura sthita tapAgacchake AcArya vijayajinendrasUriko bhejA gayA thaa| abhI yaha patra kalakattAkI gujarAtI tapAgacchasaMghakI lAyabrerImeM surakSita hai| vahIM eka aura sacitra vijJaptipatra hai, jo tapAgacchakI sAgara zAkhAke kalyANasAgarasUriko ahamadAbAda bhejA gayA thA para usameM citroMke nIce vAlA aMza aba prApta nahIM haiN| mer3atekA sacitra vijJaptipatra 32 phUTa lambA hai jisameM 17 phuTa taka to citra haiM aura 15 phUTameM saMskRta aura mAravADI bhASAkA gadya-padyameM lekha hai| yahAM sarvaprathama citroMkA saMkSipta vivaraNa de diyA jAtA hai| phira mUla lekhakI nakala dI jaaygii| citroMkA prArambha maMgala kalazase hotA hai

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50 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha jisake donoM aura striyAM khaDI haiN| isake bAda chatrake nIce do striyAM nRtya kara rahI haiM, do striyAM bAjA bajA rahI hai, eka Dholaka aura dUsarI vINA bajA rahI hai| tadanaMtara aSTa maMgalika, 14 mahAsvapna, trizalA mAtA. siddhArthake sAmane baiThe svapnaphala paatthk| phira jinAlaya, bAjAra, dukAne, mahanta, masajida / isake bAda bAjAra, tIna-tIna dukAneM, zrInAthajI kA mndir| phira tIna-tIna dukAne, rAstemeM 1 ghuDasavAra, panihArI, puruSavarga, do muni jinake hAthameM kAle raMgakI tripaNI hai, citrita kiye gaye haiN| phira hAthI para dhvjaadhaarii| tadanantara cAra ghuDasavAra, dasa bAjA bajAne vAle, azvArohI rAjA jisake Age 2 aura pIche tIna aura bagalameM 2 AdamI cala rahe haiN| tadanantara 15 puruSa, 9 baccA, 13 striyAM aura 1 bAlikA hai| striyoMke mastaka para ghdde| isake bAda upAzrayameM AcArya takhta para baiThe haiN| sAmane 4 zrAvaka aura sthApanAcArya haiM, pIche ca~varadhArI khar3A hai| takhtake pAsa 8 sAdhu, 7 zrAvikAyeM jinameM eka khar3I hai, eka vyaktikA eka pAMva Age aura eka pAMva pIche haiN| isake bAda sAdhvIjIkA upAzraya hai| 4 zrAvikAyeM baiThI haiN| phira pArzvanAtha mandira zikharayukta, jisake dAhinI ora anya tIrthakara aura bAMyI ora dAdAguru virAjamAna hai aura eka nartakI nRtya kara rahI hai jisake eka tarapha vAjitra bajAne vAlA khar3A hai| ina bhAvacitroM ke bAda vijJaptilekha likhA huA hai jisakI nakala Age dI jA rahI hai| vijJaptilekhameM vIramagAMvake rAva phatahAsiMha, Tokara seTha, 4 jaina mandira, Izvara, mAtA, gaNapati, bhairava, 64 yoginI, 52 vIra va sahasraliMga tAlAbakA mahatvapUrNa ullekha hai| phira vijaya jinendrasUrike 108 guNoMkA ullekha karate huye se lekara 108 takakI vastuoM va prakAroMkA varNana mahatvakA hai| tadanantara marUdhara deza, rAjA mAnasiMha, medanIpura (mer3atA), vahAMke 12 mandira, hAkama paMcolI gopAladAsakA kAvyameM ullekha kavi gulAlavijayake ziSya dIpavijayane kiyA hai| phira AcAryazrIke guNa-varNana, unake sAthake muniyoMke nAma aura mer3ateke muniyoM ke nAma kAvyameM hai| Age mAravADI bhASAmeM gadyameM patra hai jisameM paryuSaNa Adike samAcAra va upAlambha likhA huA hai| yaha lekha saMvata 1867ke migasara sudi 5ko zivacaMdrane saMghake kahanese likhA hai| prastuta lekhakA AdhA aMza gujarAta saMbaMdhI hai aura AdhA mAravAr3a sNbNdhii| tatkAlIna mAravADI bhASA evaM anya aneka bAtoMkI isa lekha dvArA mahattvapUrNa jAnakArI milatI hai| lekhameM gulAlavijayako kavirAya vizeSaNa diyA hai ataH unakI kavitAoMkI khoja kI jAnI Avazyaka hai| vijJaptipatra // 0 // zrIsadgurubhyo namaH // zrImanjinarAja vAgvAdinI sadrucaraNa svasti zrIramarasurAsurAvani carAdhIzottamAMgernataM / lokAloka vilokanaika rasikaM dhAtrAdi devaiH stutaM // dRSTAyaM caraNAzraye sthitimatI cakrezvarI rUpabhAk jAtA bhaktajaneSTadA jayatu sa zrInAbhijAto jinaH // 1 // atha zrIzAMti jinastuti:-- zazAmayasminnacirIdare ca, ciraMtanoruka pracuraM prcaarH| AyAtaevetadudAracodhaM, jAtaM sa zAMti ziva tAtirastu // 2 // atha zrI nemitIrthakRvarNanamrAjIva dRgyoSidudArarAjI lalAmahitvAttaya morarAja / rAjImatI yo khila yogirAjo, bhUyAtsanemi vikASTasiddhaye // 3 //

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mer3atAse vijayajinendrasUriko vIramapura preSita sacitra vijJaptipatra : 51 atha zrI pArzvaparamezvarastavaHpadmAzaktimatI tathaiva dharaNo yasyAMhi sevAparau pArzva naiva jahAti bhaktinirataH pArthAbhidho yakSarAT japtaM nAma yadIya mujvala dhiyA kaSTASTaka dhvaMsakam vizvAbhipsita daMbhavejayatu sa zrIpArzvatIrthazvaraH // 4 // atha varddhamAna jinarAjavarNanam - yenA tAri samAM sudhArinikaraH saddezanA dAnataH kAle nalpa kuvAdi jalpa viSame mithyAndhakArAvRte udyadvAsara rAjamaMDaLa nijaM jAgartiyacchAsanam loyaM zrI caramo jinAdhipa varo jIvyAdanaM tardvidaH // 5 // evaM paMca jinAdhIzAna surAdhIzArcita kramAt abhiSTraya prakRSTena bhAvena kRta maMgalAn // 6 // atha gujaradezavarNanam // dUhA // sArada mAta mayA karI, praNamI sadaguru pAya / lekha paddhati hiva varNavU, gAvu gacchapati rAya // 1 // jaMbUdvIpa dakSiNa disai, bharatakSetra majhAra / gujjara deza suhAmaNo, vIramanagara udAra // 2 // dhara gujjara suMdara dharaNa, haraNa duHkha sukha ThAma / haraSita suravAso vaseM, jehavo guNa tasa nAma // 3 // saha desAM mAMhe sirai, surapati racyo nija hattha / vAsaviyo harSe karI, sughaDa karaNa nija sattha // 4 // . guNa prakAraMbhu (? suM) gujara taNA, lakSmI kIno vaas| jugAMta vasAvyo jaha dhara, adhikI pUraNa Asa // 5 // vIramanagara suhAmaNo, vanavADI jaga saar| kavi opama kAsu kahai, pasarI jaga vistAra // 6 // tehija gujara desameM, vIramanagara sunAma / guNa maNi rayaNa karaMDa jyu, bho rahai sukhaThAma // 7 // cihuM disi hariyAlI khulI, nIrataruvara nIra / salila parasarai navala taru, oTai kiyA guhIra // 8 // zItala chAyA taru bhalA, jima mAyA phala vel| chaMdA kara rAkhai sadA, iNa vidha manano mela // 9 // sUraja caMdraja dekha nai, haraSita huvai nisadIsa / dhana dhana iNa nagarai narA, vasai su pavana chattIsa // 10 // // dezI bhaTiyANI rii|| nagara vIramapura sohai ho mana mohai suratara vRMdanA; gaDha maDha toraNa mNdd| UMcI gata vidhi bhIti ho bahudIpti kIrtikaMgurA, zveta varaNa caMdra khaMDa // 1 // 10 //

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52 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha kaMgara paMkti birAjai ho ati chAjai sUraja kiraNanA, mArnu nikasyA aaj| sahasakiraNanA mana mai ho te jANe bIjo caMdra chai, piNa ravi tIjo mAjha // 2 // n0|| hiva pura parasira khAI ho var3a chAIdhAI bahu jalai, pAtAlavara paitth| daravAjai bhalI bharajA ho jima durajana nai mana bhayaravA, thUla pRthula guru gRTha // 3 // n0|| Agai puranI maMDapa ho kavi mukhathI jima tima varNavai, nagara gharoghara mAna / U~cA maMDapa aDiyA ho nabhiM gaDiyA sUraja kiraNa nai, mAnu ravi jovaNa TAna // 4 // n0|| maMdira savi chAjai ho mAnu rAjai sphaTika rayaNataNA, jAlI gokhAM joDa / navala mahila ghana meDI ho mila meDI baMgalA ujvalA, karaNI virAjai koDa // 5 // n0|| cahA maMDapa rAjai ho virAjai mAraga copaDA, zreNI haTAula ott| phiratA chatrIse pauNA ho, nahI UNA dhana dhaNa suMdarA, vyApArI bahu moTa // 6 // n0|| capala turaMgama sohai ho mana mohai gayavara gAjatA, ratha su pAlakhIyAnI jora / rAja mAraga meM taruNI ho gata varaNI gayavaranI sadA cAlatI mAcasamAM cora // 7 // na0 // milatI hilatI nArI ho sura nArI para sobhatI, phiratI cohaTA maaNh| . lejo bahu che bhAjI ho mana rAjI dekhInai huvai, vaigaNa sAga vikAMha // 8 // n0|| khArika pistA khijUrA ho mana jUrA kistA huve sadA, puMgIphala bahu mol|' aMbA rAyaNa kelA ho bahu melA mevA sAmaThA, levai loka amola // 9 // n0|| jarIyAM rezamI gaMThA ho bhari baiThA thiramA sAvaTu paTTu nIlA laal| . paMcaraMga paTa pAMbhaDIyA ho bhalajaDIyAM vIMTI naga bhalA, bhArI molA mAla ||10||n0|| sAr3I chITAM suhAvai ho mana bhAve oDhaNa kAMbalI, deva kusuma vali daakh| jAtI phala taja cINI ho vali phINI khuramA jalebiyAM, lADu ghevara saakh|| 11 // n0|| deharA cyAra virAjai ho gAje nAdeM aMbarA, UMcA ati asamAna / koraNI ati mana haraNI ho varaNI nahI jAyai sahI, gAvata gaMdhrapa gAna // 12 // na0 // zAMtinAthamahArAjA ho mana bhAyA suranara iMdrane, zrI prabhu pArzva jinNd| paratikha paratA pUrai ho dukha cUrai, bhavijana vRMdanA, Apai sukha amaMda // 13 // n0|| saraNAgata sAdhAra ho munidhArai anubhava dhyAna meM, AlaMbana jagatAta / vIrama parasara rAjai ho divAje rAje mahIpati, zrI sadbujAnI jaat|| 14 // n0|| zrAvaka bahutai yukti, gurubhakti nita prati sAcavai, pUjA vividha prkaar| satara bheda ne snAtra ho, zuci gAtrai ATha prakAra suM, gAvai maMgalAcAra // 15 // n0|| mAtA Izvara gaNapati ho, phaNapati bhairUM deharA, sahasaliMga talAva / jogaNa cosaTha maMDI ho, grahacaMDI bAvana vIranA, pUje zivamatI bhAva // 16 // n0|| gacha corAsInA sAlA ho dhramamAlA guNaha gaMbhIranI, sAdhu ghaNAhiya jJAna / sAmAyaka bahu posA ho nahiM thAMpaNa mosA ko karo, jainadharma zubhadhyAna // 17 // n0|| ehavo puravara vasato ho mukha hasato iMdranagara parai, nahiM ehavo vali koy| ika dina harSa vadhAI ho tihAM AI zrIjI sAhabA, gaccha dhArI tuma hoya // 18 // n0|| vinatI kari bahuvAri ho hitadhArI nahi tume sAhabA, Tokara seTha kahai jANa / hivai tuma pUja padhAro ho avadhAro maMgala cArane, saMgha Agraha bhumaan||19|| n0|| ghaNA mahocchava vAjai ho divAje gAjai AvIyA, vIramagAma tai dhaam| ghara ghara maMgala gAyA ho vadhAyA zrIjI sAhibA, dIpaka muni kahai ThAma // 20 // n0||

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dUhA mer3atAse vijayajinendrasUriko vIramapura preSita sacitra vijJaptipatra : 53 iNapara vIrama sahara meM, phatesiMgha bAborAva / dharama nIta pratipAlaNo, vakhata vaDai subha bhAva // 1 // sadA raho ziva bhakti ura, kSatrI dharma subhaav| rIta nIta jAlama mahI, gahiro phataisiMgha rAva // 2 // chappaya mahA sUra sadhIra vIra cihaM disAM vadIto teja pANa taravAra cyAra disa sahajA jIto nyAya nIta meM nipuNa dIpai dAtAra dina prata dharama dhurA dhAraNo heka zivabhakti hutA hita phatesiMgha gahiro guNA, var3a vakhata vATa varo sUra jyo raho sAlama mahI, koDa jugAM rAjasa karo // 1 // sobAdAra sadA gunI, bakhatavaMta nara nAtha / zrIjI sAhiba vInatI, paudhAro nara sAtha // 1 // kari. vaMdaNa zrAvaka kahai, paudhAro pura maaNh| janama saphala hosI kharo, dharama kalapa vikasahi // 2 // ima suNa zrIjI UThIyA, maMgalakalaza vaMdAya / jaya jaya zabda ucArIyA, bhaTTa caraNazubha vAya // 3 // Arye bhArata khaNDa maNDana nibhe shriimnjnodytprbhe| zarvANI sthiti so daye dhani janaissarvatra vittaahye| deze gurjara saMjJike narapati proDhapratApodaye duSTA nItidurIti bhIta rahite vikramepattane // 1 // atha zrIvijayajinendrasUrIzvarAnAM varNanam kAvyamAdhuryeNa vacaH zriyA nayanayo lasya bhAgyodaye kAnyA kAntatanormano'malatayA siddhayA karAMbhojayo kattaM jaina matAnugaM samajagad yeSAM kSitI vihRti ste pUjyA jinazAsanAruNasamAH sAkSAdgaNezopamA // 1 // kAvya atha chaMda mANakadaNDa-- zrI pUjyarAja guNake jihAja, jima iMdurAja, guNavimala sAja vidyAbhaMDAra, anupama AcAra, saMyama sudhAra, jugatali vicAra zIle sarUpa, triNa bhavana bhUpa, guNake guhIra, niNaratna sIra merUsudhIraH paratriyA vIra, AnaMdakaMda, jima sudhAcaMda vilaso viveka, cAritra Teka, dharmahasuriMda, tiNa tkhtcNd| dIpaka, vRMda sukha snehakaMda, aSTa karamake bhAMjaNahAra, mahimAvaMtamahaMta // guNa kehavA tumacA kahaM, eka jIbha jo hoya AcArija guNa AgalA, ekaso ATha hi soya // 1 // dahA---

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54 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha DhAla (2) pAsajinesara sAhibA re-e desii| pUjyArAdhyatamotamA re, vaMdanIka puujniik| sakala guNeM karI sobhatA re, gachapatIyAM sira TIka // 1 // jANo jineMdrasUrIzvarU re| bhAratI kaMThavirAjatA re, kaligotama avatAra / abodhajIva pratibodhavA re, udayo dinakara sAra // 2 // jaa0|| ikavidha asaMjama taNA re, TAlaNa guNa maNi khANa / vAcaka doyavidha dharmanA re, tIna tattvanA jANa // 3 // jaa0|| cyAra kaSAyane jIpatA re, paMcamahAyatadhAra / rakSaka SaTavidha jIvanA re, bhaya sapta dIdha nivAra // 4 // jaa0|| TAlaka AThe mada taNA re, nava brahmacaryanA dhAra / dazavidha yatidharma dhAraNA re, vAcaka aMga igyAra // 5 // jaa0|| bAre upAMgane vAcatA re, teraha kAThIyA jANa / cavada vidyA ne jANatA re, siddha bheda panara vakhANa ||6||jaa0|| sola kalA zazi nirmalA re, sataraiha saMyamapAla / pApa sthAnaka aThAranA re, nehanivAraNa sAla // 7 // jaa|| ugaNIsa doya kAusaga taNA re, vIsa sthAnaka tapa jANa / zrAvaka guNa ikavIsanA re, vAcata ho baravANa ||8||jaa0|| parIsaha bAvIsa jIpatA re, viSaya tajyo tevIsa / ANA jina covIsanI re, pAlo vizvAvIsa // 9 // jaa0|| bhAvanA pacavIsa bhAvatA re, kappAjJayaNa chAvIsa / upadezaka aMgeM kiyA re, muni guNa sattAvIsa // 10 // jA0 // matijJAna bheda aThThAvIsanA re, upadezaka munirAya / guNa tIsa pApa zruta taNA re, saMga nahI samudAya // 11 // jaa.|| mohanInA sthAnaka achai re, tIsa bheda suvicAra / siddha bheda ikatrIsanA re, chatrIsa lakSaNa dhAra // 12 // jaa.|| tetrIsa AsAtana taNA re, TAlaka ho nizadIsa / cotrIsa atizaya jANatA re, vAgIguNa paiMtrIsa // 13 // jaa0|| chatrIsa uttarAdhyayananA re, upadezaka gururAya / gaNadhara kuMthu jiNaMdanA re, saitrIsa jANo mAya // 14 // jA0 // khuDiya vimANanA varganA re, uddezaka aDatIsa / samayakSetra mAMhe bhachai re, kulaguru guNacAlIsa // 15 // jaa0|| dehamAna zrIzAMtino re, dhanuSa kahyo caaliis| paDhama mahalIya varganA re uddezA ikatAlIsa // 16 // jaa0|| bayAlIsa kalodadhi re, sUraja hai udyot| karmavipAkanA desa chai re, tayAlIsa zratabodha // 17 // jaa0||

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mer3atAse vijayajinendrasUriko vIramapura preSita sacitra vijJaptipatra: 55 dUhA uddezA varge kahyA, cothe cammAlIsa / dharmanAtha nija dehanA, dhanuSaha paitAlIsa // 18 // baMbhI lipInA jANIyai, akSara chayAlIsa / agnibhUta graha meM vasyA, varSaju saiMtAlIsa // 19 / / caudamA dharma jINaMdanA, gaNadhara addtaaliis|| terendrInA bhAUSo, dhanu guNa pacAsa jagIsa // 20 // deha anaMta jiNaMdano, dhanuSa bhalo pacAsa / uddezA ikkAvanA, nava brahmacaryanA bhAsa // 21 // mohanI karmataNA kahyA, sUtra bhalA bAvanna / paMca anuttara UpanA, vIra sIsa tepanna // 22 // DhAla (3) pADosaNarI desii| eto nema jiNaMda chadmaste ho yogIzvara dina caupanne ho (2) vicaryA mahIyala mudA / eto vIrajiNaMda aMtakAle ho jo kahyA ajjhayaNa ho (2) pacAvana zuddha udA // 23 // eto vimalajiNaMdanA jANo ho jo0 gaNadhara zuddha ho (2) chappana guNamaNi dhraa| triNa gaNi piTaka vimala kara jANo ho jo0 kahyA ajjhayaNa ho (2) sattAvana zubhavarA // 24 // eto jJAnAvaraNI ne vedanI ho jo Ayu nAma jANo ho (2) aMtarAya suddha lho| uttara prakRti pAMcanI jANo ho jo0 aThAvana mAno ho (2) zAstrai sudhai vaho // 25 // ikarita caMdra saMvatsara jANo ho jo guNasaThi lahiye ho (2) nisimAna meM sdaa| eto vimala jiNaMda to jANo ho jo0 sAThadhanu kahiye ho (2) deha mAna sameM mudA // 26 // caMdramaMDala igasaTha jANo ho jo0 bhAgeM bhajiyeM ho (2)lahiyo subha dhyaanthii| vali zAMti jiNaMdanA jANo ho jo0 bAsaThi sahasra ho (2) munivara zubha mAnathI // 27 // eto niSadha nIlagiri bresaThe hI jo0 karata prakAzA ho (2) udyota jinnNdjii| eto cakravartI galAmeM pahire ho jo cosaThi sariyA (2)sudhahAra suM aiMdajI // 28 // eto jaMbUdvIpa meM jANo ho jo0 ravi paNasaThai ho (2) maMDala kara jotinaa| dakSiNa mAnuSagirameM jANo ho jo0 caMdra tapaMtA ho (2) chAsaThi sudha sotanA // 29 // zrI prayoga jina), gaNadhara satasaTha jANa) dhAtakI khaMDa jiNaMdanA, aDasaTha kajhA vakhANa // 1 // sAta karama uttara prakRta, guNahottara viNa moh| sittara dhaNu uMcApaNu, vAsupUjya tanu soha // 2 // ikotara pUraba sahasa, ajita vasyA gRhavAsa / kalA bahottara jANIye, vidyA lIla vilAsa // 3 // vijaya baladeva to AuSo, sahasa tihottara varSa / agnibhUta gaNadhara taj, Ayu cahottara varSa // 4 // paMcyottara se kevalI, puSpadaMtanA jANa / lakSa chihottara pUrvathI, bharata thayo maharANa // 5 //

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56 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha DhAla (4) zrI saMkhezvara pAsajiNesara bheTiyai / sattottara lava eka muhurttano mAna chai / akaMpitano Ayu aThottara vAna cha / jaMbUdvIpanI polano kahIyo bhataro / joyaNa guNyAsI sahasa kahyo tihAM saaNtro||1|| zrIzreyAMsano mAna kahyo kevaLa mukhai / bhasI dhanuSa pramANa laho vidhathI sukhai / navanamIyA munijANa kahaM sAstre bhalA / pratimAnA dinamAna laho citathI salA // 2 // ikyAsI te jANa bhalI vidha cittameM / devAnaMdanI kUkha vasyA vIrajI smai| bayAsI nisa jANa vale zItala jinA / gaNavara vyAsI zuddhi kriyA guNa zudhinA // 3 // RSabhadeva jinaMdanA gaNadhara jAgIyai / caurAsI zuddha jANa jagatra vakhANIye / uddezA paDhamAMganA picyAsI kahyA / suvidhi taNA gaNadhAra chIyAsI sara dahyA // 4 // uttara prakRta chava karmanI satyAsI sahI / dharma jiNaMda gRhavAsa bhavyAsI jaga lhii| zAMti jiNaMdanI sAdhavI sahasa niyAsIye / neU dhanuSanI jANa zItala jina tanu kIye // 5 // Ayu gotra viNa karma chavainI jANiyai / kahIya IkANuM sAra hIyA meM bhaanniiyai| iMdrabhUtigaNadhAra varaSa bANuM lho| caMdraprabhu jiNarAya tirANu gaNa kaho // 6 // corANuM gaNadhAra ajitajinanA bhlaa| pacANuM gaNadhAra supArzva jiNaMda slaa| vAyukumAranA bhuvana chinu lakha jANiyai / uttara prakRti vakhANa karama aTha mANiyai // 7 // sattANu kahI bhASa karamanI saradaho / RSabhanai sAthai dIkSaka nijasutamana lho| bhaThANu zuddhacitta suzrIjI jaanniyaa| jojana sanninANavai suragira mANIyA // 8 // pArasanAthano Ayu sataha varSa jANajyo / dasadasamI yA paDimAha tike mana aannjyo| eka so eka dinamAna pramANa sudhAraNA / kula ikottara satanuM zrIjI sAraNA // 9 // bIDottara vali rUpaka bhedAvali lhii| tIDottara sata nAma te zrI jI siihii| cIDottara sata rAga bheda bhaNAvatA / paMcAdhika sata jANa kuMDaliyA jaNAvatA // 10 // SaTa uttara zata tehanA, dodhaka chaMda subhed| ika zata sAteM AgalA, gAthA dodhaka veda // 1 // miNiyA navakara vAliyai, eka sau ATha pramANa / jAsu kara japIye sadA, zrI sadaguruno dhyAna // 2 // ityAdika bahu guNa kahyA, jANe zrIjI saar| kavitA kima guNa kara sake, dIpaka mana vistAra // 3||shrii.|| sakalaguNamaNiviracitagAtraiH anavadya vidyA vizAradaiH zrI siddhAntArtha smArakaiH asti nAsti sakala jJAyaka tattvaiH saptanayavAda vidyA jJAyakaiH ranavadya gadyapadya hRdya samaya zAbda tarka chandolaGkAra gaNitAdi vividha tantrajJaiH sarvatra labdhi pratiSThaiH vidyA mada ghUrNita vAdyodhakakSadAtraiH vyAkRtyalaMkRti kozAdibhiH pAThita vainayika chAtraiH sadvidyaudArya dhairya gAMbhIryAdi guNagaNapAtraiH pradhArita sarAdvivadAtulyasaccAritraiH / karatalakalitAmalakavadamalavidita sajjainika taMtracAritryazAstraiH / urIkRta zirasijinAnuzAsanazirastrai // sacchIlazIlapuNyasarasarinnIrapavitraiH mahAmantra paMca prasthAna yata smArakaiH kaSAyagirIbhedaka mahAvajra vadvIrya yutaiH mahA mohamallajIpakaiH, paMcAcAra paalkaiH| na bhavyajana pratibodhanaika mArtaNDaiH // aSTAdazasahasra zailAMga rthvaahkaiH| SaTjIva rkssaakaarkaiH| sapta bhayanivArakaiH, aSTa mahAmadabhedanaika hari tulyaiH| dazavidha ytidhrmvaarkaiH| ekAdazAMga vAcanaika rasikaiH dvAdazopAMgAmRta varSaNaika ghnsmuuhaiH| zrIvIrapaTTaprabhAkaraiH /

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DO NOT Deo 00.00.CO.JOJ QUOTOCHOODOCOCUDA citra 1: pRSTha 50, paMkti 4-5 NOROOOOOOOORPOROPORONORLD Age-pIche citra 1-4 vi. saM. 1867 meM, meDateke zrIsaMghakI orase vIramapura(vIramagAma-gujarAta)sthita tapAgacchake AcArya zrIvijayajinendrasUriko bhege gaye vijJaptipatrakA citravibhAga (dekhiye pR050) a wal citra 2: pRSTa 50, paMkti 5-7

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TOU TSOKh MONONO.0.0:00 OSTITS fa 2 : TE90, off. 6-90 citra 4 : pRSTha 50, paMkti 10-12 www.jainelibrary

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meDatAse vijayajinendrasUriko vIramapura preSita sacitra vijJaptipatra : 57 mahAmuni saMsevita crnnjljaiH| paMca mhaavtpaalkaiH| zrImadAcAryavayyaH dharma dhurinnaiH|| sakalaguNagariSTai retyAdi patriMza triMzatiSaT guNopetaH / jaMgama jugapradhAnaH sakalabhaTTAraka ziromaNyaiH purandara bhttttaarkaiH|| bh| jI zrI zrI zrI zrI zrI zrI zrI zrI 108 zrI zrI zrI zrI zrI zrI vijayajinendrasUrIzvarajitka pA caraNAn dalamitaH zrI medanIpurataH samasta saMgha likhati praNati patradvArA sahasrASTa saMkhyeti vAcyA // atra zrImadiSTadeva prasAdAgavyaM / tatrApi zrImatAmagaNya puNyavatAmaharnizaM bhAvukaM bhuuyaaditi| yUyaM guga grissttaaH| sdissttaaH| tathA ca zrImatAM zubhavatAM bhavatAmAdhyAnamaharmizaM mayikA kriyate zrImadbhirayaI samaye smaraNIyaM yaduktaM naiSadhakAvyaH tavavarmani vartatAM zivaM punarastu bhavatAM samAgamaH ayisAdhaya sAdhayepsitaM smaraNIyAH samaye vayaM vyH||1|| ityAdi jJeyaM / tayA ca kRpAdRSTi sRSTi rkssnniiyaa| no heyAzrImadbhiH prItirItirasmaducitaM kArya saMlekhyaM / pArthivayaM no vicAryam // kAvyalabdhegautama prAjJavAn suraguru rUpe ratInAM patiH Adityasya vapuH prabhA nayanayoH kRSNapriyAyAM punaH caMdrollAsita kaMjavat gurumukhaM vANI sudhAsAgaraH zrImad pATapaTodharo vijayate jainendrasUrizciram // 1 // __ atha vaanniivrnnnm-|| savaiyA 31 // jAkI madhurAI Age sayAnI lajAnI sudhA, jAnI apamAnI taba nAka vAsa ThAnI hai| sAkarI ko kAkara ko rUpa dhari rahI chAnI, yohI Dara rAkhi marnu drAkha sakucAnI hai| yAkai pakSapAta ikSu lokana samakSa lakSa, ghAnI meM pilAnI yAte ati hI DarAnI hai| sunata suhAnI savai rIjhi rahe bhavya jAnI, aisI suguruvAnI jAte vAnIhI harAnI hai||1|| atha marudhara deza varNana bhASA chappayadezAM sirahara deza vAha marudhara varaNIjai vaDA marada vaMkaDAM jetha utapati jaagiijai| asala dharama. akalaMka asala hiMduANa AcAraM / darasaNa SaTa devAMNa baDo marajAda vicAraM / / te majhi judhANa kamAM takhata sahira bIo sahirAM sirai| jovatAM sobha sahi vidhijugati je su alakAhI rahigI urai // 1 // __ atha marUdharAdhIzvara rAjarAjezvara mahArAja zrI mAnasiMgha deva varNanamAnAsaMgha var3avakhata vijaya nRpa takhata virAjai / navatavaMta nara nAha rUpata jeho iNdraajai|| gajana jiso gajagAha rAha hindU dhrama rkhynn| jairI saMka karai patisAha vAha savi vAta vicakhyaNa // saka baMdha bhUpa avasANa sica, bhANa jAsa dharapura adala tapa teja bhANa hindU tilaka, mANa dujaNa ASADha mala // 2 //

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58 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha .. atha medanIpura varNanam - chappayate marughara majha tisau nayara medanIpura niiko| bhuvaNa bhAminI bhAla tANa vidhiraciyo TIko / bahu gaDhakoTa bAjAra gayaNa chabi maMdira gokhAM / vaNe cihuM disa vAga jetha jaNa mANe jokhAM // kali kaMTha keki pika sabda kara, havA leta bhogI halaka / daragAha dekhi catrabhuja darasa, mAne te tIratha mulaka // 3 // savaiyA 31vaseM jahAM cyAravarNa tAmeM te se jina ke savarNa, aura kauna aisA bar3A sumatIka hai / dharmaSaTakarma daramyAna bar3e sAvadhAna, gyAna dhyAna dAna mAna jAna suvratIka hai| tarka chaMda vyAkaraNa ThAraha purANa veda, vidyA dasacyAra ke nidhAna tahatIka hai| kahai kavi jIha eka kahAM lu vakhAna yAke, yo to upamAna mAnujAna kiratI kahai / zrImeDatA nagarathI, likhata mudA suvicAra / zrIjI sAhaba mAnajyo, vaMdaNA vAra hajAra // 1 // kahA opama tumakuM likhU, jagameM tuma sama hoya / namatAM sIsa pavitrasu, pAtika dUrai hoya // 2 // desa aneka jagameM acha, zrIjI sAhiba jaann| piNa marudhara samavar3a nahIM, dIsai adhiko mAna // 3 // merUdhara adhiko maMDovaro, jodhapara sarajAma / rAjAMna pratapai sadA, hiMdUtilaka hI ThAma // 4 // (1) kapUra huvai ati Ujalo re-e desii| tiNa hIja marudhara desa meM re, nayarI medanIpuranIka / bhuvana bhAminI bhAla jyu re, tiNavidha racIyo TIka re| sarijana // jANo gacchapati rAya // bahugaDha koTa bAjAra chai re, gaganAMgaNa puMtA gokha / vanavADI disavAgasuM re, bhogI mANe jokha re / / su0|| jaa||2|| pavana chatrIsa jihAM vasai re, loka sahu dhanavaMta / kubera mila saMkA karai re, mujha nagarI su mahaMta re| su0||jaa0||3|| AdIsarano deharo re, sohai cauTA vIca / sUraja mana ima Upano re, kIrata thaMbha e vIca re / su0 // jA0 // 4 // deharA bArai sohatA re, svarga suM mAMDai vaad| mahimA ghaNI re, mahajita sarva sujAda re // su0|| jaa0||5|| meDatA pura sara sohatA re, phalavadhi pAsa jiNaMda / mujha manavaMchita pUraNA re, cUraNA tamasa diNaMda re|| su0||jaa0||6||

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mer3atAle vijayajinendrasUriko vIramapura preSita sacitra vijJatipatra : 59 rAja tihAM sabalo achai re, mAnasiMgha mahArAja / nagaraloka sukhIyA vasai re, dina dina caDhata divAja re||su0|| jA0 // 7 // tehano hAkama guNanilo re, paMcolI gopAladAsa / rAjadhurA dhara dhAraNo re, kIrata pasarI jAsa re| su0|| jaa0||8|| bahu vyApArI tihA vasai re, lakhapati adhikai mAMna / cora caraDa navi saMcarai re, gorI gAvai gAna re // su0|| jA0 // 9 // vAr3I pArasanAtha jI re, pAlakoTa udaMta / derAgI veva cAra suM re, bAhira nagara suhaMta re||su0|| jaa0||10|| darajI paTavA suMdaru re, taMbolI sonaar| gaNikA mocI turakar3A re, ityAdika suvicAra re|| su0|| jaa0|| 11 // ehavo upAzraya kiMhA nahIM re, pUja padhAro veg| dharmavRkSa phala lAgasI re, TalasI sagala udega re // su0 // jA0 // 12 // gulAlavijaya kavirAyano re, dIpavijai kahai tAma / vaMdaNA mAharI mAMnajyo re, the cho guNa nA dhAma // su0|| jaa0|| 13 // DhAla (2) DorI mAMrI Avai re rasiyA kaDataLe,-e desI // sadaguru sAco re jagameM surataru, japIyai nisadina jApa / snehii| rana ro bhIno gaccha ro lADalo, jima iMdra ochaka cApa / s0||1|| gacchapati vijyjinendrsuuriishvruu|| avicala mahimA re jagameM adhipati, gaNadhara haMdo re jJAna / s0| gaNadhara ghaTa japatAM sUraja udeM, bhAMjata timara agyAMna / s0|g0|| 2 // jaga meM krodha mAna mAyA valI, lobha mithyAtva pracaMDa / s0| rAgadveSa aMtara ripu jItIyA, durddhara diyai sira daMDha / sa0 / g0||3|| tejavaMtA jayavaMtA jasa mukhI, nANavaMta jasavaMta / s0| labdhi bhaMDArI lAbha kalA bharyA, praNamyati saghalA saMta // sa0 // g0|| 4 // caMdramaMDalapari zItala paradarA bhAskara sama var3a teja / s0|| zuddha mAraganA pAlaka zubhakarA, bhavijanathI bahu heja / sa0 / ja0 // 5 // jAti rUpa kula bala vapu uttamA, vinaya sunANa saMpanna / s0| daMsaNacAritra avara kSamA dayA, satya saucca upanna // sa0 // ga0 // 6 // caraNa karaNa Arjava mAIvA, baMbhaceraI suvicAra / s0| bhAkiMcaNa nirlobhI tAraNa tarA, ityAdika guNa sAra / s0|g0 // 7 // kAvya purANa vyAkaraNa chaMdanA, TIkAzAstra abhyAsa / s0| Agama naya upanaya gAMbhIryatA, juktA jukta nivAsa / sa0 g0||8|| tarkazAstra nirajukti svapara taNA, utsarga ne apavAda / s0| nizcayanaya vyavahAra sadAmatI, jANaka sagalA jAda / saag0||9|| nirdATaka pAkhaMDI chedatA, paMca mithyAtva nivaar| s0| kumati kadAgraha tRSNA chedatA, jima vana cheda kuThAra / s0|g0 // 10 //

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60 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha dharmadhuraMdhara meru taNI parai, mahimA jagavikhyAta / sH| SaTavidha jIva nikAcita rUpanA, mAta tAta ne bhrAta / s0||g0||11|| sat mitra sama cita dharatA sukhai, kRpA samudra pavitra / s0| gaMgAjalapari nirmala tuma guNA, jehanA sarasa caritra |s| ga0 // 12 // pravacana sAra uddhAra prakaraNe, AcArya guNa chattIsa / s0| vividha prakAre bhAMgA varNavyA, gaNI na sakuM munIsa / sa0 / ga0 // 13 // jima gayaNAMgaNa tArA nabi giNa sake, tuma guNa kahivA na jApa / s0| phaNapati sahasa prasaMsA jo karai, tiNathI piNa na khaay| s0| g0||14|| ujjala vidhumaMDalasyuM tejano, syu DaMDIrava mAna / s0| parimala ujala guNa prAdhikya chai, syuM kahuM vadhataivAna / sAga0 // 15 // giravA puraSa te sahajai guNa karai, kArya ma kAraNa jANa / sa0 / g0||16|| taru sIMce sarovara subha bharai, megha na mAMgai daann| sa0 ga0 // 16 // hIyar3A meM kima sAjana vIsare, te sajana suvicAra / s0| dina dina ghar3I ghaDI pala pala sAMbhare, jima koila sahakAra / sa0 ga0 // 17 // tapagaccha maMDaNa hIra divAkarU tehanA vaMsa meM bhANa / s0| paMDita gulAlavijaya kavirAyano, dIpaka gAyA jANa / sa0 / ga0 // 18 // DhAla (3) mhArA vAlA vAhaNa joto re pagaDAno tAro UgIyo-e deshii| zrIjI sakala mana cAhatA, saMgha taNe citta mAhe jii| bhAvojI bhAsyA pUrIya, bhavipaMkaja vikasAhe jI // sadgururAya padhAriye // 1 // Atama tumane olagu, lakSaNacetana jANo jI cetanatA to je lahai, pAmI sadguru vANo jI / / 2 // bhAtama asaMkha pradeza chai, lokAkAze teho jii| bhAtama Atama e pramA nyUnAdika nahIM seho jI // s0||3|| eka pradezanA deza meM, guNa kahIje anaMta jii| parajaya zakti anaMtatA, parijaya dharma anaMta jI // s0||4|| eha svabhAvaja jIvano, astai-nAstivaMto jii| satvI svabhAvai astitA, nAsti parava prapaMca jii||s0||5|| rucaka pradeza vinA kahuM, vargaNA anaMta mAno jii| karma raja vITI rahyo, jima raja bAdala bhAno jii|| sa0 // 6 // anaMta catuSTI saMpadA, anaMta zaktI jANo jii| caraNa anaMtA te kahyA, cIraja anaMtai mAMno jii||s0||7|| ajara amarapada rAjavI, nizcaya nai mata jANo jii| vivahAra saMsAriyo, ema Atama e vAno jI / / s0||8|| vIra paTodhara kahI jatA, jANo sadgura rAyA jii| tuma vANI zravaNa suNAM, rucasI mana meM rAyA jI // s0||9|| rucate dazavidha jANiye, kahI pannavaNA mAhai jii| upadeza bIjI saMpadA, bhavijana tumacI cAhai jI ||s0||10||

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mer3atAse vijayajinendrasUriko vIramapura preSita sacitra vijJaptipatra : 61 nava te Atma prabodhathI, thAsyai karmanai raMgai jii| tuma mukhanA upadezanI, cAhAM tumanai saMge jii|| s0|| 11 // vInataDI avadhArajo, sAcI prIta saMbhAlI re| kavara padAnA bolaDA, te bolaDA pratipAlI re|| s0|| 12 // meDatA nagara padhAriye, caumAso ThAvIje re| zrIsaMghanai bahu hUMsa che, te pUravyAM mana rIjhai re| sa0 // 13 // vikrama meM kAMi mohiyA, rogIlo te deso re / kapaTI gujjara meM kahA, ochA tehanA veso re / / s0||14|| DhIlA bolA kAbarA, kyAM kyAM syuM syuM bole re| lUlA paMgulA sUgaTA, tyAM suM citta amola re / s0|| 15 // piNa te kAmaNagAraDA, kAmaNa kIdhA keI re| tyAM suM manaDo bhedIyo, jANo manamA theI re / s0||16|| mai piNa kAmaNa sIkhasyAM, karasyAM koDa upAyo re| gacchapati rAya nai vAMdasyAM, sevasyAM mahanisa pAyo re| s0||17|| chAvA dharmasuriMdanA, mAta gumAnAM jAyA re|| haracaMda kula meM kesarI, gacchapati sahu mana bhAyA re ||s0||18|| saMvata aThArai satasarI, kArtika mAsa suhAyA re| sudi terasa bhraguvAranai, gacchapatinA guNa gAyA re / sa0 // 19 // paMDita mAMhe ziromaNI, gulAlavijaya gururAyA re| dIpavijayanI vInatI, luli luli lAgai pAyA re / s0||20|| itizrI vInatI saMpUrNamagamat / likhitoyaM / / zrI // 1 // DhAla-luMjhunai varasalo meha-e desI zrI zrI jinendrasuriMda, gAvo bhaviyaNa bhAva suM ho lAla / tAraka bhavijana eha, AcAraja guNa DAva suM ho lAla // 1 // kahitA 2 nAvai pAra, vIra paToghara manoharU ho lAla / paga paga hota kalyANa, ihabhava parabhava sukhakara ho lAla // 2 // rAya pradezI mahanta, rAya pasegI sUtra meM ho lAla / dhyeya mAcAraja jANa, ghyAyo mana dhara maMtra meM ho laal| ladho lahyo bhavano pAra, zAsvata sukha pAmyA ghaNA ho laal| tima bhavi sevo jANa, nava nidhi pAmo nahIM maNA ho lAla // 4 // mahAmuni taNA vakhANa, zrIjI pAsai chai bhalA ho laal| dAnavijaya mativaMta, paM0 pada suM jANo salA ho lAla // 5 // jAvo hIrA khANa, vidyAvijaya Upano ho lAla / rAmavijaya mana jIta, sAgara suM te nIpano ho lAla // 6 // gItAratha guNavaMta, nAyaka jaya pada pAmIyo ho lAla / mANaka mANaka dIva, kesara jaya pada dhAmIyo ho lAla // 7 //

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62 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha phataivijaya mana raMga, dolata ThAmeM gAviyo ho laal| puNyavijaya paramANa, khusAlasAgara bhAviyo ho lAla // 8 // ityAdika munirAya, sevai mana sudhasuM sadA ho lAla / vaMdanA vArovAra, jANejo munijana mudA ho lAra // 9 // ihAM chai munivara sAtha, AjJA tumacI Adarai ho laal| sevaka nita prati dhyAna, dhyAvai ahanizi pAdarai ho lAla // 10 // paMDita mAMhe pradhAna, gulAlavijaya vaMdaNA karai ho laal| saMtoSavijaya mana dhIra, dIpai sukha vijayai dharai ho lAla // rAjavijaya manaraMga, nagavijaya subha bhANa suM ho lAla / mANakavijaya mana dhAra, dalapati vAMdai jANasuM ho lAla / ajItavijaya sukhakAra, RSabha rAjendra doya bhAva suM ho lAla / siddhavijaya mana caMga, rUpaka dAna navala suM ho lAla // 13 // ratanazrI sAdhavI mAna, jJAne daulata suM bharI ho laal|| zrAvikA saraba sucaMga, cAhai nija mana zubhakarI ho lAla // 14 // likhu li kAgala keha, sAta samudanI misa karI ho laal| kAgala jo dharatI hoya, pAra na Avai guNa kharI ho lAla // 15 // vaMdaNA vAra hajAra, mAnejyo gacchapati mudA ho laal| / ihAMnA saMghano juhAra, tihAM kahajyo saMghane sadA ho lAla // 16 // adhiko ocho likhiyo teha, mApha karo mahArAjajI ho laal| muMni rasa siddhiM ne caMdra, kArtika sudi kAma rAjajI ho lAla // 17 // -ityAdi varNanaM kaarymgmt-||1|| isake bAda rAjasthAnI lipimeM lekha hai| usake bAda likhI huI bhAsako prathama likhA jAtA hai : ||bhaas svAdhyAya // dezI-nIMda nayaNA rai vica ghula rahI ehanI sAhibA sadgurU caraNa suhAmaNA, vaMdo bhavijana bhAva ho / sadgururAjA // sAhibA prema amRta rasa barasatA, sivapaMtha sIjho DAva ho / s0||1|| gacchapati vijyjinendrsuuriishvruu|| sAhibA muni gahagATa sobhatA, caMdaja kulanA rUpa ho / s0| sAhibA budhabhaMDAra khulyA rahai, rIjhavai pRthavInA bhRpa ho| s0| g0||2|| sAhibA ThAma ThAma maMgala ghaNA, motIyAM thAla bharAya ho / s0| sAhibA pUjajI vadhAvai gharogharai, dila dariyAva sarAya ho| sa ga0 // 3 // sAhibA vaMsa vadhAraNa abhinavo, vIrajinesara paTTa ho / s0| chAvA dharma sUrIsanA, pratapo vakhata pragaTTa ho / s0|g0 // 4 // koDa divAlI cira jIvajyo, pratapo koDa varIsa ho| s0| jaina dharma maMDaNa dhurA, guNa gaNa ratna sUrIza ho| s0| ga0 // 5 //

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mer3atA se vijayajinendrasUriko vIramapura preSita sacitra vijJaptipatra : 63 meDatApurI vanati; mAnejyo mahArAja ho / sa0 / marudhara deza padhAriye, desAM meM siratAja ho / sa0 / ga0 // 6 // vadhAvityuM gaccharAyane, motiyAM bharibhari thAla ho / sa0 / jaladhara sahaneM sama giNai, tima tume jANo kRpAla ho / sa0 / ga0 // 7 // gulAla saMtoSanI vInati, jaya jaya par3hanA rAga / sa0 / ghyAve sadguru caraNanai, saphala karai nija bhAga ho / sa0 / ga0 // 8 // sAcA caraNanai sevatAM, sukha upajai mana raMga ho / sa0 / dIpa kahai mana harakha suM, dejyo avicala saMga ho / sa0 / ga0 // 9 // iti svAdhyAya samAptam // zrI // svasti zrIvIramagAMva nagara zubhasthAne sakala zubha opamA virAjamAna aneka opamA lAyaka eka vIdha jamarA pALaNAra, duvidha bhrama rA jANa, tIna tata rA jANa, cAra kaSAya rA jIpaka, paMca mahAvrata dhAraka, nava brahmacarya rA pAlaka, dazavidha jatI bhrama rA dhAraka, igyArai aMga rA jANa, bArai upAMga rA jANa, tere kAThIyAjIpaka, vade vidyA nidhAna, panarai sIdha bheda rA jANa, solai kalA nirmalA, satarai bheda saMjama rA pAlaka, aThAre pApasthAnaka rA nivAraka, vIsa thAnaka, ikIsa zrAvaka rA guNa prakAzaka, bAIsa parIse rA jIvaka, teIsa viSai rA nivAraka, coIsa jiNesara rA AjJA rA pAlaka, pacIsa bhAvanA rA jANa, chAIsa kalpanA rA jANa, satAIsa sAdhu guNa rA bhaMDAraka, AgyAdaka chatIsa guNekara virAjamAna, sakala bhaTAraka siromaNI, pujya puraMdara, bhaTTArakajI zrI zrI zrI zrI zrI 108 zrI zrI vijaijinendrasUrIsura jI saparivArAn... caraNakamalAn zrI mer3atAthI sadA sevaka AjJAkArI hukamI pATa bhagata samasta saMgha likhatuM vaMdanA trikAla dinaprate vAra 108 vAra avadhArasI jI aThArA samAcAra zrI deva gurAM rI kRpA kara nai bhalA chaijI / pUjyazrIjI sAhabAM rA sadA sarabadA Arogya cAhI jejI / pUjya zrI jI sAhabAM re AhAra pANI gaMgAjala ArogaNa rA ghaNA jatana karAvasI jI, jatana to zrI iSTa devajI karasI, piNa siMgha nai to likho cAhIje, ru pujajI rA caraNAraviMda bheTaNa rI saMgha ghaNI umeda rAkhe che, suzrI phalodhI pArasanAthajI rI jAtrA sArU padhArasI nai mer3atArA saMgha nai vaMdAvasI tiko dina dhana husIjI, zrIjI moTA chau, zrI gaNadhara jI rI gAdI virAjIyA chau, suzrIjI rA guNAMro pAra nahIM, meDatA rA saMgha Upara sadA kRpA rakhAvai chai tiNa suM vizeSa rakhAvasI jI au / mer3ate comAse punyAsa jI gulAlavije jI saMtoSavije jI zrIjI rI AgyA suM rahA suMzrI pajusaNa paraba nIravigana paNa vakhANapacakhANa posaga paDakuNA pujA prabhAvanA caitrapravAr3a ghaNA ADaMbara suM huvA chai nai zrIjI ro bhrama ro ghaNo Acho lAgo hai| bIjo sa bahota taradAra varaso varasa utaratI samai Avai chai su likhaNa meM kuM Avai nahIM jI piNa Aja dina tAMi to zrIjI rA upAsarA rI nai gacha rI sArI marajAda sadA mada suM sAcavIjI gaI hai| gItAratha caumAsai rahai su bohota saMkaTa pAvai chai piNa zrI jI rA upAsarA rI to ghaNI marajAda rAkhI chai pIchA hameM zrI adIsaTAyaka jI rAkhasI neM sarAvagAM rA ghara saira meM nirATa thor3A rahA hai AhAra pANI ro tathA kapar3A rI samai chai su to Agei Apa jANai chai nai hamai vizeSa saMme chai su likhaNai juM nahIM / comAsI to Apa ghaNA jogya melIyA paNa samai nahIM jiNa ro vicAra chai| bIjI pATIye vakhANa zrI jaMbudIpapanatI vacai chai sejAya zrI gInAtA sutrarI huvai chai / vakhANa sajAya to nita huvAM jAya chai / gachI tathA para gachI sarAvaga sarAvagaNI Ayai chai / gaccha ro phuTaro dIkhAvai chai aura pora kA comAsIyA rA samAcAra sIMdha rA kAgada suM jANasI / Apa lIkho meDatai meM rahai to raNa dejo matI su meDatA meM vinA AgyA kisa lekhai rahaiM nai kisai lekhe rAkhAM / aThaito zrI jI rI

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64 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha AgyA mAphaka cAlasI piNa itaro vicAra to Apane icAijai moTo khetra turata likhate turata dIja nIrATa halako khetra nahIM likhaNo suM Apa vicAra su khrii| siMgha rai bhI to salA baiThe jINa nai saira likho, salA baiThe jiNa nai choTo gAMva likho zrIjI rA jatI hai, sIMgha rai iNa vedI meM kAMI parojana nhiiN| siMgha. to zrIjI rai AgyA paravANa cha nai zrIjI likhe mArI AjJA sIMdha thakI cAlasI suto durasa piNa zrIjI paTo comAsA raiTANai nair3A dinAM meM melo nai pachai paTo mAraga meM dekhAya rAkhai su AdesI alagI dUra suM Avai suM kada samAcAra pUMge nai kada AdarA pailI Avai su marajAda to rAkhaNI Aparai hI ja hAtha bAta chai su vicAra lesii| vAhar3atA kAgada krIpA karanai dIrAvasI, deva darasaNa avasarai sIMghanai yAda kraavsii| saM0 1867 rA migasara sudi 5 dI ko| sivacaMda rA chai sIMgha re kahAsuM likho chai| ___aMtameM anmuThiomikA pATha likhakara vijJAptipatra pUrNa kiyA gayA haiN| nitya vinaya maNi jIvana jaina lAyabrerI, kalakattA

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apabhraMza-sAhitya devendrakumAra jaina yadyapi mahAkavi kAlidAsa ke "vikramorvazIya" nATaka(I. lagamaga prathama zatAbdI) ke caturtha aMkameM, ' kavi zUdraka viracita " mudrArAkSasa" nATakake (lagabhaga dUsarI zatAbdI) dUsare aMkoM aura zaivAgama tathA caryApadoMmeM apabhraMzakI bikharI huI sAmagrI milatI hai, jisase yaha patA calatA hai ki bhASAke rUpameM yaha I0 pU0 prathama zatAbdIse hI pracalita rahI hogI parantu sAhityake pada para lagabhaga pAMcavI zatAbdImeM pratiSThita huI hogii| kyoMki chaThI zatAbdIke bhAmaha saMskRta aura prAkRtakI bhAMti apabhraMza kAvyakA bhI ullekha karate hue tIna prakArakI bhASAomeM kAvya likhe jAnekA abhidhAna karate haiN| yahI nahIM, apabhraMzameM usa yugameM mukhya rUpase kathAeM likhI jAtI thIM jo svAbhAvika bhI hai| dezI bhASA aura sAhityake pratiSThita honemeM do-cAra yugoMkA nahIM, zatAbdiyoMkA samaya lagA hogaa| AThavIM zatAbdImeM apabhraMzameM itane sundara aura kalAsampanna mahAkAvya likhe jAne lage the ki unako dekha kara sahajameM hI do sau varSa pUrvakI sthitikA anumAna ho jAtA hai jaba lokakaviyoMne apabhraMzake prabandha kAvyoMkI racanA prArambha kara dI thii| mahAkavi svayambhU (navama zatAbdIkA prArambha) ne "svayambhUchanda" tathA "riTThaNemicariu "meM govinda, caturmukha, mahaTTa, siddhaprabha Adi kaI apabhraMza kaviyoMkA ullekha kiyA hai jisase prabandhakAvyoMkI paramparAkI prAcInatA tathA apabhraMza kAvya evaM kaviyoMkA patA calatA hai| caturmukhake dvArA likhita paumacariu, riThThaNemIcariu aura paMcamIkahAkA ullekha milatA hai para racanAeM abhI taka upalabdha nahIM ho skii| ina ullekhose yaha nizcaya ho jAtA hai ki lagabhaga chaThI zatAbdIse apabhraMza prabandhakAvyoMkI racanA hone lagI thii| 1 zabdArtho sahitau kAvyaM gadyaM padyaJca tadvidhA / saMskRtaM prAkRtaM cAnyadapabhraMza iti tridhA // kAvyAlaMkAra, 1,16 2 na vaktrAparavaktrAbhyAM yuktA nocchvAsavatyapi / saMskRtaM saMskRtA ceSTA kathApabhraMzabhAktathA / / vahI, 1,28 3 jaina graMtha prazasti saMgraha, pR0 36 /

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66 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha lagabhaga eka sahasra varSoMke dIrgha kAla-parimANameM apabhraMza sAhityakI racanA hotI rahI hai| upalabdha sAhitya nauvIM zatAbdIse aThArahavIM zatAbdI takakA hai| adhikAMza sAhitya padyabaddha hai| svatantra rUpase koI gadya-racanA nahIM miltii| yahAM taka ki zrutakIrti viracita "yogazAstra" aura vaidyaka grantha "jagatsundarI prayogamAlA" padyabaddha hI haiN| mukhya rUpase udyotanasUrikRta "kuvalayamAlAkathA" (vi0 saM0 835) aura dAmodara racita "uktivyakti prakaraNa "(11-12vIM zatAbdI)meM apabhraMza gadyake namUne milate haiN| sAdhu sundaragaNikRta "uktiratnAkara"meM bhI dezI zabda tathA bhASAke udAharaNa milate haiN| tantrasArameM apabhraMzake kebala kucha padya hI prApta hote haiN| isa prakAra phaTakara tathA muktaka rUpameM madhyayugIna anya bhAratIya bhASAoMmeM likhita sAhityameM bhI apabhraM bhASAke nAma-rUpoMkI chApa dekhI jA sakatI hai| upalabdha apabhraMza-sAhityakI tAlikA isa prakAra haiambadeva sUri samarArAsa (racanA saM0 1371)-prakAzita abdula rahamAna sandezarAsaka (12 vIM zatAbdI ?), abhayagaNi subhadrAcarita (racanA saM0 1161) abhayadevasUri jayatihuaNastotra (racanA saM0 1119)-prakAzita amarakIrtigaNi NemiNAthacariu (ra0 saM0 1244), chakkammovaesa-(ra0 saM0 1247), puraMdaravihANakahA (ra0 sa0 1275), mahAvIracariu, jasaharacariu, jhANapaIva (anuplbdh)| amaramuni chandoratnAvalI asavAla pAsaNAhacariu (ra0 saM0 1479) Asiga jIvadayArAsa (vi0 saM0 1257) IzvaragaNi zIlasandhi RSabhadAsa ratnatrayapUjA kanakakIrti nandIzvara jayamAlA kanakAmara karakaNDacariu (11 vIM zatAbdI)-prakAzita guNabhadra bhaTTAraka aNaMtavayakahA, savaNavArasivihANakahA, pakhavaikahA, NahapaMcamI, caMdAyaNa, caMdaNachaTTI, NarayautArI duddhArasa, Ni duhasattamI, mauDasattamI, puSphaMjalivaya, rohiNIvihANa, rayaNattaya vihANa, dahalakkhaNavaya, laddha vihANa, solahakAraNavayavihi, suyNdhdhmiikhaa| jayadeva bhAvanAsaMdhi (ra0 saM0 1606) . jayamitrahala zrIpAlacaritra, varddhamAnakathA, malinAthakAvya / jalhiga anuprekSArAsa 1 jadda jaha jassu jahiM , civa paphurai ajjavasAu / taha taha tassu tahiM, civa tArisu hoi pahAu // taMtrasAra (abhinavagupta), 4,1 yaha tAlikA adhikatara upalabdha granthoMke AdhAra para prAmANika rUpase taiyAra kI gaI hai| yadyapi 'jinaratnakoza'. (khaNDa 1)meM isa sUcI meM anullikhita granthoMkA apabhraMza-granthoMke nAmase ullekha milatA hai, kintu ve aprApya honese yA prAkRta bhASAmeM likhita honese isa tAlikAmeM sammilita nahIM kiye gaye haiN|

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apabhraMza-sAhitya : 67 jinadattasUri jinapadmasUri jinaprabhasUri jinaprabhasUri jinaprabhasUri jinabhadra jinavaradeva chatrasena kavi ThakurasI kavi ThAkura tejapAla paM0 darzana vijaya dAmodara dAmodara (jinadeva ke putra) devacanda devadatta devasena kavi devadatta devanandI devasUri devasenagaNi delhaNa dhanapAla dhanapAla dharmasUri dhavala kavi dhAhila nayanandI narasena nemacanda padmakIrti puSpadanta upadezarasAyanarAsa (saM0 1132-1210), carcarI rAsa / sthUlabhadra phAga (saM0 1390 ke lagabhaga) anAthasandhi, antaraMgarAsa, antaraMgavivAha / Atmasambodha kulaka, moharAjavijaya, sAvayavihi, jinajanmamaha, neminaathraas| vajrasAmicariu (saM0 1316) subhASitakulaka buddhirasAyaNa rukmiNIvidhAna meghamAlAkathA (ra0 saM0 1580) sAMtiNAhacariu (ra0 saM0 1652), mahApurANa kalikA (ra0 saM0 1650) saMbhavaNAhacariu (pratilipi saM0 1583), varAMgacariu-(20 saM0 1507), pArasaNAhapurANu (16 vIM shtaabdii)| vijayatilakasUrirAsa (saM0 1679)-prakAzita NemiNAhacariu (ra0 saM0 1287) siripAlacariu, NemiNAhacariu, cNdpphcriu| pAsaNAhacariu (lipi saM0 1494) varAMgacarita, zAntinAthapurANa, aMbAdevIrAsa-(anupalabdha) sAvayadhammadohA-prakAzita / pAsaNAhacariu (ra0 saM0 1275) rohaNIvayakahA upadezakulaka suloyaNAcariu gayasukumAlarAsa (vi0 saM0 1300 ke lagabhaga) bhavisayattakahA (ra0 saM0 1393) bAhubalicariu (ra0 saM0 1454) jambUsAmirAsa (ra0 saM0 1266) harivaMsapurANa (12 vIM zatAbdI ke lagabhaga) paumasiricariu (10 vIM zatAbdI ke lagabhaga)-prakAzita sudaMsaNacariu, sayalavihi vihANakavva (ra0 saM0 1100 ke lagabhaga) siddhacakkakahA, jiNarattivihANakahA (14 vIM zatAbdI ke lagabhaga) ravivaukahA, aNaMtavayakahA pAsaNAhacariu (vi0 saM0 999) mahApurANa (vi0 saM0 1016-1022), nAgakumAracarita, yazodharacarita-prakAzita / sukumAlacariu kalirAsa (vi0 saM0 1363) pUrNabhadramuni prajJAtilaka

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68 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha bAlacandramuni bUcirAja (valha) bra0 uMdU brahma sAvAraNa bhagavatIdAsa mahaNasiMha mahIcanda mahIrAja mahezvarasUri mANikkacaMda mANikkarAja kavi muni kumudacaMda muni cAritasena muni yazaHkIrti yazaHkIrti yazaHkIrti nirayaduhasattamIkahA, ravivaukahA, NarayautArI, duddhaarskhaa| mayaNajujjha (vi0 saM0 1589) caitirAsA kokilApaMcamIkahA, mukuTasaptamIkathA, dudhArasIkathA, AdityavAra, tInacaubIsI, puSpAMjali, nirduHkhasaptamI, nirjharapaMcamIkathA / migAMkalehAcariu (vi0 saM0 1700), mauhasattabhIkahA, suyNdhdhmiikhaa| triMzat jinacaubIsI zAntinAthapurANa (ra0 saM0 1587) naladavadaMtIrAsa (saM0 1539) saMjamamaMjarI tathA A0 hemacandrasUrikRta "saMjamamaMjarI" kI svopajJa vivRti evaM TIkA' sattavasaNakahA (ra0 saM0 1634) amarasenacariu (vi0 saM0 1577), NAyakumAracariu (saM0 1576) neminAtharAsa samAdhirAsa jagasundarIprayogamAlA (Ayurveda) caMdappahacariu (12-13 vIM zatAbdI ke lagabhaga) pANDavapurANa (ra0 sa0 1497), harivarsa purANa (ra0 saM0 1500) jinarattivihANakahA, rvivukhaa| paramappayAsu, joyasAra / paumacariu, harivaMsapurANa, AdipurANa (anupalabdha), pAsapurANa, sammattaguNanidhAna, mehesaracariu, jIvaMdharacariu, jasaharacariu, puNNAsavakahAkosa, dhanakumAracariu, sukosalacariu, sammahajinacariu, siddhacakkavayavihi, vRttasAra, siddhAntArthasAra, Atmasambohakaba, aNathamIkahA, sammattaka umudI, karakaNDu-sudaMsaNacariu (anupalabdha), dazalakSaNa jayamAlA, SoDazakAraNa jayamAlA, samyaktvabhAvanA sohaMthudi (anekAnta meM prkaashit)| jinadattacAI (ra0 saM0 1353) pradyumnakathA neminAthaphAga (saM0 1405 ke laMgabhaga) pAhuDadohA (vikrama kI dasavIM zatAbdI ke lagabhaga) aMtaraMgasaMdhi (vi0 saM0 1362) yogIndradeva paM0 raidhU madanakayA ralha kavi ralhaNa rAjazekharasUri rAmasiMha muni ratnaprabhasUri 1 anya TIkA-granthoMke rUpoMmeM apabhraMza bhASAmeM likhita devendrasUrikRta " uttarAdhyayanasUtra vRtti", ratnaprabhasUrikRta " upadezamAga dodharI vRtti", mUlazuddhaprakaraNa vRtti, AkhyAtamaNikoSa vRtti tathA bhavabhAvanAprakaraNa vRtti ullekhanIya haiN| 'saMjamamaMjarI'kI TIkA bRhat haiN| pustakAkAra lagabhaga tInasI pRSThoMkI hai, jo abhItaka aprakAzita hai| lekhaka isa granthakA saMskaraNa taiyAra kara hai|

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apabhraMza-sAhitya : 69 lalitakIrti bhaTTAraka lAkhU (lakSmaNa) lakSmaNa lakhamIcaMda vajrasenasUri varadatta barddhamAnasUri vijayasiMha vijayasenasUri vidyApati vinayacaMda vinayacandrasUri vinayaprabha vimalakIrti vIra kavi vIra kavi vibudha zrIdhara jinarAtrikathA, jyeSThajinavarakathA, dazalakSaNIkathA, dhanakalazakathA, kaMjikAvratakathA, karmanirjarAcartudazI kthaa| jiNadattakahA (ra0saM0 1275), aNuvayarayaNapaIva (vi0 saM0 1313), cNdnnchttiikhaa| NemiNAhacariu (14 vIM zatAbdI ke lagabhaga) dohANuprekSArAsa bharatezvara-bAhubalighorarAsa vajrasvAmIcaritra vIra jinapAraNaka ajitanAthapurANa (vi0 saM0 1505) revaMtagirirAsa (vi0 saM0 1287),-prakAzita kIrtilatA (15 vIM zatAbdI)-prakAzita canaDIrAsa, nijapharapaMcamIvihANakahA, kalyANakarAsa, duddhArasa khaa| neminAtha ca upaI (vi0 saM0 1257) gautamasvAmIrAsa (vi0 saM0 1412) sokhavaivihANakahA, suyaMvaMdasamIkahA, caMdAyaNava ukhaa| jambUsAmicariu (ra0 saM0 1076) NANasAra kI pAthaDI pAsapurANa (ra0 saM0 1189), vaDDhamANacariu (ra0 saM0 1190), caMdappahacariu (anupalabdha) paMcapaNDavacaritarAsa (vi. saM. 1410) bharatezvarabAhubalirAsa (vi0 saM0 1241), buddhirAsa,-prakAzita sAMtiNAhacariu kahAkosu, rayaNakaraNDasAvayAyAra (ra0 saM0 1120) caMdappahacariu (vi0 saM0 1793) sukumAlacariu (ra0 sa0 1208) bhavisayattakahA (ra0 saM0 1230) vasudhIracariya (1) harivaMsapurANa (vi0 saM0 1552), parameSThIprakAzasAra, dharmaparIkSA, yogasAra (16 vIM shtaabdii)| samyaktvakaumudI jinapadmasUri paTTAbhiSekarAsa (17 vI zatAbdI ke lgbhg)| jambUsAmicariu (vi0 sa0 1060) vilAsavaIkahA (ra0 saM0 1123) pajjuNNacariu (12 vIM zatAbdI ke lagabhaga) suppayadohA (vairAgyasAra) neminAtharAsa (lagabhaga 13 vIM zatAbdI) kumArapAla pratibodha (vi0 saM0 1241)-prakAzita zAlibhadrasUri zAlibhadrasUri zubhakIrti zrIcaMda zrIcaMda zrIdhara zrIvara zrIbhUSaNa zrutakIrti sahaNapAla kavi sAramUrti sAgaradattasUri sAdhAraNa siddhasena siddha-siMha kavi suprabhAcArya sumatigaNi somaprabhasUri

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70 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha svayaMbhU, tribhuvana svayaMbhU paumacariu, harivaMsapurANa, svayambhUchanda, paMcamIkahA, svayambhU vyAkaraNa (anuplbdh)| haricaMda aNathamIkahA, dazalakSaNakathA, naarikerkthaa| harideva mayaNaparAjayacariu (15 vIM zatAbdI ke lagabhaga) haribhadrasUri sanatkumAracarita (vi0 saM0 1216) prakAzita-rihaNemicariu haribhadra NemikumAracariu-prakAzita hariSeNa dhammaparikkhA (vi0 saM0 1044) harisiMha sAdhu samyaktvakaumudI (prakAzita, anekAnta, 11, 2) hemacandrasUri siddhahemazabdAnuzAsana, dezInAmamAlA (13 vIM zatAbdI)-prakAzita hemacandra brahma zrutaskandha inake atirikta pATanake bhaNDArameM jinaprabhasUrike nAmase mRgAputra kulaka, subhASita kulaka, viveka kulaka, dharmAdharma vicAra kulaka, mallinAthacaritra, bhavyacaritra, bhavyakuTumbacaritra, mahAvIracaritra, jinajanmamaha, zrAvakavidhi, antaraMgavivAha, caityaparipATI, sAdhArmika vAsatya kulaka, vajrasvAmIcaritra (vi0 saM0 1316), moharAjavijaya, narmadAsundarIsandhi (vi0 saM0 1328), aMtaraMgasaMdhi, anAthasaMdhi, madanarekhAsaMdhi, jIvAnuzAstisaMdhi, RSabhacaritastavana, nemirAsa (vi0 saM01297), gautamacaritra kulaka, jinAgamavacanastavana, bhAvanA kulaka, bhAvanAsAra, yugAdijinacaritra kulaka, munisuvRtasvAmIstotra, neminAtha, pArzvanAtha-munisuvratajinajanmAbhiSeka tathA jinajanmotsavastavana Adi aneka racanAeM milatI haiN| isI prakAra A0 jinadattasUri viracita upadezarasAyanarasa, kAlasvarUpa kulaka, avasthA kulaka, carcarI, A0 jinaballabhasUrikI stuti, stavana Adi kaI racanAoMkA ullekha milatA hai| apabhraMzameM aisI aneka choTI-baDI racanAeM rAsa, sandhi, kulaka, carcarI Adi rUpameM upalabdha hotI haiM jinake lekhakoM ke saMbaMdhameM kucha bhI ThIka rUpase jJAta nahIM ho sakA hai| aisI racanAoMmeM kucha nimnalikhita haiM bAhubalapAthar3I, vasantavilAsa phAga (saM0 1400-1425), jinacaMdasUri phAga (saM0 1341 ke lagabhaga), AbUrAsa (13vIM zatAbdI), carcarikA, zAlibhadramAtRkA, saMvegamAtRkA, jambUcaritra, madanarekhAcaritra, mRgaputra maharSicaritra, caturaMgasandhi, caturviMzatijinakalyANaka, kathAeM, stutistavana Adi / isa prakAra apabhraMza-sAhitya kaI rUpoMmeM tathA vidhAoMmeM vikasita milatA haiN| yadyapi abhI taka isakA sampUrNa sAhitya upalabdha nahIM ho sakA hai parantu jo prabandha racanAeM milatI haiM ve kaI bAtoMmeM madhyayugIna bhAratIya sAhityameM apanA viziSTa sthAna rakhatI haiN| aura unhIMkI paramparA tathA zailI para paravartI hindI sAhitya tathA anya bhAratIya Arya bhASAoMkA sAhitya likhA gyaa| bhASA aura sAhitya dona hI rUpoMmeM navya bhAratIya AryabhASAbhoMkA vAGmaya apabhraMzase puraskRta huA hai| aura isIlie pariNAmakI dRSTise nahIM, mUlyAMkanakI dRSTise yaha sAhitya prAcIna bhAratIya Arya sAhitya aura Adhunika bhAratIya sAhityakI madhyavartI kar3I hai jo jana-janakI cetanAko Aja bhI apanI sahaja vANImeM surakSita banAye hue hai| aitihAsika aura kAvyAtmaka donoM hI dRSTiyoMse Aja isa sAhityakA vizeSa mahatva bar3ha gayA hai| paraMtu jaba taka isakA ThIkase mUlyAMkana nahIM hotA hai taba taka madhyayugIna bhAratIya sAhityakA yathArtha citra aspaSTa hI rhegaa| AzA hai, bhaviSyakI spaSTa bhAvabharI ujjvala rekhAoMmeM isakA yathArtha rUpa zIghra hI prakAzita ho skegaa| aura tabhI hindI bhASA tathA sAhitya ke udaya tathA vikAsakI vAstavika paramparAkA bodha ho skegaa|

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jaina purANa sAhitya ke0 RSabhacandra jisa prakAra prAraMbha se hI jinavANI (arhadvacana) ke cAra vibhAga kiye gaye haiM usI prakAra jaina sAhityake bhI / ye vibhAga haiM - kathA, gaNita, darzana aura cAritra saMbaMdhI / zvetAmbara inakA dharmakathAnuyoga, gaNitAnuyoga, dravyAnuyoga tathA caraNAnuyogake nAmase aura digambara prathamAnuyoga, karaNAnuyoga, dravyAnuyoga tathA caraNAnuyogake nAmase paricaya dete haiN| ina vibhAgoM meM kathA - sAhityako, jisake apara nAma dharmakathAnuyoga tathA prathamAnuyoga haiM, prathama sthAna milA hai / isa anuyogako itanI bar3I mahattA isalie dI gayI hai ki isake dvArA hI sAdhAraNa va sAmAnya janatAmeM dharmake bIja saralatA va vizAla paimAne para panapAye jA sakate haiM / kathA eka aisA sarala upAya hai jisakA prabhAva turanta hI sAdhAraNa jana para par3atA hai, ataH isako itanA mahattvapUrNa sthAna prApta hai / isI kathAnuyoga athavA kathA - sAhityakA eka aMga purANasAhitya hai jisakI carcA yahA~ para kI jA rahI hai / jinasenAcArya ne apane mahApurANa (AdipurANa) meM purANakI vyAkhyA 'purAtanaM purANaM syAt 'se kI hai / Age yaha bhI batalAyA hai ki ve apane granthameM tirasaTha zalAkA puruSoMkA purANa kaha rahe haiM / anya AcAryoMke matakA nirdeza karate hue ve batalAte haiM ki koI koI tIrthakaroM ke hI caubIsa purANa mAnate haiM kyoMki unameM anya zalAkA puruSoM (cakravarttI, baladeva, vAsudeva va prativAsudeva) kA bhI samAveza ho jAtA hai aura ina sabhI purANoMkA jisameM saMgraha ho vaha mahApurANa kahalAtA hai / kahanekA tAtparya yaha ki jisameM eka zalAkA puruSakA varNana ho vaha purANa tathA jisameM aneka zalAkA puruSoMkA varNana ho vaha mahApurANa kahalAtA hai / jinasenAcArya Age batalAte haiM ki unake granthameM jisa dharmakA varNana hai usake sAta aMga hai- dravya, kSetra, tIrtha, kAla, bhAva, mahAphala aura prakRta / tAtparya yaha ki purANa meM Sadravya, sRSTi, tIrthasthApanA, pUrva aura bhaviSya janma, naitika aura dhArmika upadeza, puNyapApake phala aura varNanIya kathAvastu athavA satpuruSa ke caritakA varNana hotA hai| jaina purANoMmeM kAvyamaya zailIkA bhI samAveza ho gayA hai| yaha tatkAlIna prabhAva hI pratIta hotA hai / anyathA jinasenAcAryakI mahAkAvyakI paribhASA meM purANake tattva bhI zAmila nahIM hote / ve mahAkAvya ke lakSaNa isa prakAra batalAte haiM :

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72 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava anya jo prAcIna kAlake itihAsase sambandha rakhanevAlA ho, jisameM tIrthakara, cakravartI ityAdi mahApuruSoMkA caritra-citraNa ho tathA jo dharma, artha aura kAmake phalako dikhAnevAlA ho use mahAkAvya kahate haiN| jinasenAcAryane apane mahApurANako mahAkAvya bhI mAnA hai| kahanekA tAtparya yaha ki mahApurANa purANase bRhatkAya hotA hai aura jaina purANoMmeM kAvyAtmaka zailIkA samAveza bhI ho gayA hai| ___ Upara kahA jA cukA hai ki purANameM satpuruSake carita kI kathA-vastukA samAveza hotA hai| isI caritAtmaka vastuke kAraNa aisI racanAoMko carita bhI kahA gayA hai| zvetAmbaroMkI prAyaH jitanI bhI racanAe~ tIrthaMkaroM ke jIvana saMbaMdhI milatI haiM unheM carita hI kahA gayA hai, parantu digambara lekhakoMne unheM purANa va carita donoM saMjJAe~ dI haiN| isase yaha spaSTa hai ki zalAkA puruSoM ke jIvana sambandhI jo jo kRtiyA~ racI gayIM unheM cAhe purANa kaheM yA carita kaheM, isase koI bheda upasthita nahIM hotaa| kahane kA tAtparya yaha ki carita aura purANa ekArthavAcI hI hai, yadi unameM tresaTha mahApuruSoMmeMse kisI ekakA yA anekakA carita varNita ho| Age calakara hama dekhate haiM ki purANa aura carita isa paribhASAmeM anubaddha nahIM rheN| zalAkA puruSoM ke atirikta aneka mahApuruSoMke kAlpanika caritoMko bhI purANa yA carita kahA gayA hai| vizeSataH carita bahuta hI vistRta arthameM prayukta huA haiN| caritakA abhiprAya rahA hai jIvanI aura vaha jIvanI cAhe zalAkA puruSakI ho, koI dhArmika athavA vIrapuruSakI ho yA kisI kAlpanika puruSakI hI kyoM na ho, una sabako caritakI saMjJA dI gayI hai| purANa aura mahApurANa nAmaka jo jo racanAe~ racI gayIM una sabakA AdhAra kyA rahA hai? jinasenAcAryane to mahApurANakI paribhASAmeM yaha batalAyA hai ki mahApuruSoM(tIrthakarA di)ne isakA upadeza diyA hai isa lieise mahApurANa kahate haiN| kahanekA tAtparya yaha ki ina purANoMkI kathAe~ tIrthakaroMke mukhase hI sunI gayI thI aura ye hI paraMparAse calI A rahI haiN| Upara hamane batalAyA hai ki digaMbaroMkA prathamAnuyoga hI zvetAmbaroMkA dharmakaMthAnuyoga hai| prathamAnuyoga bArahaveM aMga dRSTivAdakA eka vibhAga bhI mAnA gayA hai| usameM tIrthakara, cakravartI aura anya mahApuruSoM ke varNana upalabdha the| jaina kathAsAhityake purANoMkI kathAvastukA yaha bhI eka Adisrota mAnA jAtA hai, kintu dRSTivAdake lupta ho jAne ke kAraNa prathamAnuyoga aba upalabdha nahIM hai| paraMparAse jo kucha bhI surakSita raha sakA vaha Agama graMthoM tathA anya graMthoMmeM samAviSTa ho gayA aisI mAnyatA hai| ataH prathamAnuyogake pazcAt jina jina graMthoMkI kathA-sAmagrI ke AdhAra para Age purANa grantha race gaye unameM samavAyAMga, jJAtAdharmakathA, kalpasUtra, jambUdvIpaprajJapti, trilokaprajJapti tathA Avazyaka niyukti, cUrNi, vizeSAvazyaka bhASya aura vasudevahiNDI ullekhanIya haiN| jaisA ki bhAratIya sAhityake sAtha hotA AyA hai vaise jaina sAhitya ke bhI kucha prAcIna grantha aba taka bhI upalabdha nahIM ho sake haiN| anya granthoMmeM ullekha mAtrase hI unakA patA calatA hai| isa prakArake purANoMmeM vimalasUrikA harivaMsacariya, kavi parameSThikA vAgarthasaMgaha-purANa tathA caturmukhake paumacariu aura harivaMsapurANu ullekhanIya haiN| upalabdha purANa-sAhitya para dRSTipAta kareM to mAlUma hogA ki ye racanAe~ vikramakI chaThI zatAbdIse lagAkara 18vIM zatAbdI taka panapatI rahI haiN| jisa prakAra jainoMkA purAnAmeM purAnA sAhitya prAkRta bhASAmeM upalabdha hai usa prakAra purANa sAhitya bhii| apane dharma-pracArameM sAdhAraNa janako prabhAvita karane ke lie una logoMkI bolacAlakI jo bhASA thI use hI apane sAhityakA mAdhyama banAnemeM jaina loga agraNI rahe haiN| isalie samaya samaya para badalatI huyI bhASAoMmeM purANa sAhityakA sRjana huA hai| prAkRta ke bAda jaba saMskRtakA adhika prabhAva bar3hA to usa bhASAmeM bhI purANoM kI racanA karane meM jaina loga pIche nahIM rheN| usake pazcAtU jaba apabhraMza bhASAoMne jora pakaDA taba apabhraMza racanAe~ bhI hone lgiiN| isa prakAra hama dekheMge ki prAkRta (mahArASTrI) purANoMkA racanAkAla chaThI zatAbdIse pandrahavIM taka, saMskRta

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jaina purANa sAhitya : 73 purANoMkA AThavIMse unnIsavIM taka aura apabhraMza purANoMkA dasavIMse solahavIM zatAbdI taka rahA hai| pracuratAkI dRSTi se prAkRta, saMskRta va apabhraMza purANoMkA utkRSTa kAla kramazaH bArahavIM-terahavIM, terahavIMse sattarahavIM aura solahavIM zatIkA rahA hai| ina sabameM bhI saMskRta kRtiyoMkI saMkhyA sarvopari hai| prAyaH ye sabhI racanAe~ eka hI bhASAmeM haiM, paraMtu kisI kisI prAkRta racanAmeM kahIM kahIM para saMskRta va apabhraMza, to apabhraMza racanA meM saMskRta va prAkRta aura unameM dezI bhASAoMke zabda bhI yatratatra milate haiN| ye racanAe~ adhikatara padyAtmaka haiM, paraMtu gadyAtmaka racanAoMkA sarvathA abhAva nahIM hai aura kucha kRtiyoMmeM gadya aura padyakA mizraNa bhI milatA hai| vikramakI chaThI zatAbdIse jaba jaina purANoMkI racanA prAraMbha huI taba taka brAhmaNoM ke mukhya purANoM ho cukI thii| isalie usa sAhitya-zailIke darzana jaina purANoM meM bhI hote haiN| sAtha hI sAtha yaha bhI dhyAna denekI vastu hai ki usa samaya taka kAvyAtmaka zailIkA prAdurbhAva ho cukA thA tathA saMskRta sAhityameM uttarottara kAlameM utkRSTa racanAeM banatI jA rahI thiiN| isa pravAhakA prabhAva jaina purANa-sAhitya para bhI par3A hai| jinasenAcAryane to jaisA ki Upara batAyA jA cukA hai kAvyatattvako bhI purANameM sthAna de diyA hai| isa samakAlIna prabhAvake kAraNa jaina purANoMmeM hama dekheMge ki kavikI pratibhAke anusAra una racanAoMmeM chaMda, alaMkAra, rasa-bhAva Adi kAvya-guNoM tathA sUktiyoM aura subhASitoMkA taratama pAyA jAtA hai| kucha saMskRta racanAe~ to mahAkAvyAtmaka zailI ke acche udAharaNa haiN| unameM prAkRtika dRzyoM. kA varNana aura rasabhAvoM kA kalAtmaka citraNa pAyA jAtA hai| jaina purANoMmeM paurANika zailI aura kAvyAsmaka zailIkA aisA sammizraNa ho gayA hai ki vaha hameM brAhmaNa purANoMmeM kama mAtrAmeM dRSTigocara hotA hai| jaina purANoMkI kucha vizeSatAe~ isa prakAra haiM: prAraMbhameM tInoM loka, kAla-cakra va kulakaroMke prAdurbhAvakA varNana hotA hai| usake pazcAt jambUdvIpa aura bhAratadezakA varNana karake tIrthasthApanA tathA vaMzavistAra diyA jAtA hai| tatpazcAt saMbaMdhita puruSake caritakA varNana prAraMbha hotA hai| ye sabhI varNana ekase nahIM pAye jaate| kabhI saMkSipta to kabhI vistArase aura kabhI kabhI sirpha ullekhamAtrake rUpameM hii| isake atirikta unameM aneka pUrvabhavoMkA vistArase yA saMkSepameM varNana pAyA jAtA hai| pUrvabhavakI kathA oM ke sAtha sAtha prasaMgAnusAra anya avAntara kathAoMkA bhI unameM samAveza huA hai| isa prakAra unameM pracalita lokakathAoMke bhI darzana hote haiN| ye sabhI avAntara kathAe~ kabhI kabhI eka tRtIyAMza to kabhI Adhese bhI adhika bhAga lie hue rahatI haiN| sAtha hI sAtha unameM upadezoMkI kahIM saMkSiptatA to kahIM bharamAra rahatI hai| unameM jaina siddhAntakA pratipAdana, satkarma-pravRtti aura asatkarma-nivRtti, saMyama, tapa, tyAga, vairAgya AdikI mahimA, karma-siddhAntakI prabalatA ityAdi para bhAra rahatA hai| ina prasaMgoM para muniyoMkA praveza bhI pAyA jAtA hai| inake atirikta zeSa bhAgameM tIrthakarakI nagarI, mAtApitAkA vaibhava, garbha, janma, atizaya, krIDA, zikSA, dIkSA, pravrajyA, tapasyA, pariSaha, upasarga, kevalaprApti, samavasaraNa, dharmopadeza, vihAra, nirvANa ityAdikA varNana saMkSepameM yA vistArase saralarUpameM yA kalpanAmaya athavA lAlitya aura alaMkAramaya rUpameM pAyA jAtA hai| sAMskRtika dRSTi se ina graMthoMmeM bhASAtattvakA vikAsa, sAmAnya jIvanakA citraNa tathA rItirivAja ityAdike darzana hote hai jo kAphI mahattvapUrNa hai| bhAratIya janatAko rAmAyaNa aura mahAbhArata bahuta hI priya rahe haiM aura jaina purANa sAhityakA zrIgaNeza bhI inhIM do graMthoMse hotA hai| upalabdha jaina purANasAhityameM prAcInatama kRti prAkRta bhASA meM hai| yaha vimalasUri (530 vi. saM0) kI paumacariyaM (pAmacaritam) nAmaka racanA hai| isameM AThaveM baladeva dAzarathI rAma (padma), vAsudeva lakSmaNa tathA prativAsudeva rAvaNakA carita varNita hai| kitanI hI bAtoMmeM isakI kathA vAlmIki rAmAyaNa

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74 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha se bhinna hai| saMskRta rAmAyaNase isa bhinna rAmAyaNako racanekA kyA uddezya thA ? isa dRSTise dekhe to tIna mUlabhUta kAraNa pratyakSa najara Ate haiN| eka to yaha ki rAmakI jo pracalita lokakathA thI usako brAhmaNoMne kAra hindU rUpa diyA usI prakAra jainoMne apane matAvalambiyoM ke lie use apanA dhArmika rUpa diyaa| dUsarI vizeSatA yaha ki usameM vAnaroM aura rAkSasoMko pazuoMkI taraha citrita kiyA gayA thA jo paraMparAke pratikUla thA kyoMki ve manuSya jAtiyA~ hI thiiN| tIsarA kAraNa yaha ki rAmakathA-saMbaMdhI kucha aisI sAmagrI bhI vimalasUriko milI jo vAlmIki-rAmayaNameM upalabdha nahIM thI yA kucha bhinna thI, jaise rAmakA svecchApUrvaka vanavAsa, suvarNa mRgakI anupasthiti, sItAkA bhAI bhAmaNDala, hanumAna ke aneka nukI anupasthiti ityaadi| yaha racanA gAthAbaddha haiM tathA 118 uddezoMmeM vibhakta hai| kahIM kahIM para alaMkAroM ke prayoga tathA rasabhAvAtmaka varNanoMke hote hue bhI isakI zailI rAmAyaNa va mahAbhArata jaisI hI hai| saMskRta bhASAmeM bhI prathama jaina purANa rAmasaMbaMdhI hai jo raviSeNAcArya(735 vi0 saM0)kA padmacarita hai| isameM 123 parva haiM tathA kucha varNanAtmaka vistArake sivAya yaha vimalasUrike paumacariyakI pratikRti mAtra hai| isI kathAkA anusaraNa karanevAlA sakalakIrti ke ziSya jinadAsa(solahavIM zatI)kA rAmadevapurANa hai jo gadyAtmaka hai| devavijayagaNikA padmapurANa 1652 vi0 saM0 meM racA gayA thaa| bhaTTAraka somasena* ke rAmapurANa (saM0 1656) para guNabhadrakI rAmakathA(uttarapurANa)kA bhI prabhAva hai| anya rAmapurANakAroMmeM bha0 dhamakIrti (saM0 1669), candrasAgara, candrakIrti Adi ullekhanIya haiN| prAkRta va saMskRtakI taraha apabhraMza bhASAmeM bhI prathama upalabdha jaina purANa paumacariu hai jo svayaMbhUdeva(897-977 vi0 saM0)kI racanA hai| yaha pA~ca kANDoM tathA nabbe saMdhiyoM meM vibhakta hai| kathA raviSeNAcAryakI kRti ke anusAra hI hai| isakI vizeSatA yaha hai ki isameM utkRSTa saMskRta kAvyazailIkA anusaraNa huA hai| kavi ra idhU(15vIM 16 vIM zatAbdI)ne bhI apabhraMzameM padmapurANakI racanA kI hai| kAlakI dRSTise rAmAyaNake pazcAt mahAbhArata saMbaMdhI kathAkRtiyoMkI gaNanA jaina purANa sAhityameM hotI hai| jaina sAhityameM ye racanAe~ harivaMzapurANa yA pANDavapurANake nAmase vikhyAta haiN| kuvalayamAlAmeM jo ullekha hai usase anumAna kiyA jAtA hai ki isa viSaya para bhI prathama kRti prAkRtameM hI racI gayI thI aura usake kartA bhI vimalasUri the| ina purANoM meM 22veM tIrthaMkara neminAtha, vAsudeva kRSNa, baladeva, jarAsindhu tathA kaurava-pANDavoM kA varNana hai| upalabdha sAhityameM jinasenakRta (840 vi0 saM0) saMskRta harivaMzapurANakA prathama nambara AtA hai| isameM 66 sarga haiN| yaha racanA vimalasUrikI saMbhAvita kRti para AdhArita mAnI jAtI hai| sakalakIrti(1450-1510 vi0 saM0)kA harivaMzapurANa 39 sagoM meM vibhakta hai| isameM Adhese adhika sarga unake ziSya jinadAsa dvArA likhe gaye haiN| bha0 zrIbhUSaNakA harivaMzapurANa saM0 167 kI racanA hai| terahavIM zatAbdImeM racA gayA devaprabhasUrikA pANDavacaritra 18 sameiM vibhakta hai| zubhacandrakA (1608 vi0 saM0) pANDavapurANa jaina mahAbhArata bhI kahalAtA hai| rAjavijayasUrike ziSya devavijaya gaNI(1660vi0 saM0)ne devaprabhasUrike pANDavacaritrakA gadyameM rUpAntara kara apanI kRti banAyI thii| amaracandra(13 vIM zatAbdI)kI racanA bAlabhArata bhI ullekhanIya hai| harivaMza purANa ke anya kartAoMmeM vra0 jinadAsa (16 vIM zatI), jayasAgara, kavi rAmacandra (saM0 1560se pUrva) aura bha0 dharmakIrti (saM0 1671) tathA pANDava caritra saMbaMdhI jayAnanda, vijayagaNI, zubhavardhanagaNI aura pANDava purANake rayicatAoMmeM bha0 zubhacandra (saM0 1618), zrIbhUSaNa (saM0 1657) aura bha0 vAdicandra (17vIM zatI)ke nAma ullekhanIya haiN|

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jaina purANa sAhitya : 75 harivaMza saMbaMdhI apabhraMzakI prathama kRti svayaMbhUdevakI hai jisakA aparanAma rihaNemicariu hai| yaha tIna kAMDoMmeM vibhakta hai tathA 112 saMdhivAlA grantha hai| isakI kathAkA AdhAra jinasenakA harivaMzapurANa hai| dhavala(11vIM-12vIM zatAbdI vi0 saM0)kA harivaMzapurANa 112 saMdhiyoM meM kAvyAtmaka DhaMgase likhA gayA hai| solahavIM zatAbdIkI anya do kRtiyA~ yazaHkIrti aura zrutakIrtikIprApta hai| prathama 13 aura dvitIya 44 saMdhiyoMmeM vibhakta haiN| kavi raidhUne bhI harivaMzapurANakI racanA kI hai| rAmAyaNa aura mahAbhAratake pazcAt kAlakI dRSTi se mahApurANoMkI bArI AtI hai, jinameM triSaSTizalAkA puruSoM athavA caubIsa tIrthaMkaroM Adike caritoMkA varNana AtA hai| inakI zurUAta bhI prAkRta bhASAse hI hotI hai| zIlAMkAcArya(925 vi0 saM0)kA caupannamahApurisacariya aisI hI eka racanA hai| grantha ke zIrSakase pratIta hotA hai ki nau prativAsudevoMko zalAkA puruSoM meM nahIM ginA gayA hai, jaisA ki samavAyAMgase bhI sUcita hai| yaha gadya-pradhAna racanA hai| isakI rAmakathA para vAlmIkI rAmAyaNakA prabhAva zUrpaNakhAke nAma tathA svarNamRgase spaSTa hai tathApi zeSa kathA vimalasUrike anusAra hai| bhadrezvara(12-13vIM zatAbdI)kI kahAvalimeM zalAkA puruSoMkA carita varNita hai| yaha racanA gadyapradhAna hai| isakI rAmakathAmeM rAvaNake citra kA ullekha dhyAna dene yogya hai| mahApuruSa-caritakAroMmeM AmrasUrikA bhI nAma liyA jAtA hai| saMskRtameM isa saMbaMdhameM mahattvapUrNa racanA mahApurANa hai| isakA prathama bhAga AdipurANa jinasenAcArya (10 zatAbdI) kRta hai tathA dvitIya bhAga uttarapurANa unake ziSya guNabhadrakI racanA hai| uttarapurANakI rAmakathA vAlmIkirAmAyaNa va paumacariyase bhinna hai| Adi purANameM prathama tIrthakara va prathama cakravartI tathA uttarapurANameM zeSa zalAkA puruSoMke caritra vaNita haiN| AcArya malliSeNane 1104 vi0 saM0meM apane mahApurANakI racanA kI thii| pandrahavIM zatAbdIke bha0 sakalakIrti AdipurANa aura uttarapurANa ke racayitA hai| hemacandrAcArya(13vIM zatI prathamapAda)kA triSaSTi-zalAkA-puruSa-carita 10 pA meM vibhakta hai| isakA antima bhAga pariziSTa-parva aitihAsika mahattva rakhatA hai| AzAdhara (1292vi0 saM0)ke triSaSTi-smRti-zAstrameM zalAkA puruSoMkA saMkSipta varNana hai| triSaSTi-zalAkA-puruSa-carita viSayaka gadyAtmaka racanAkAroMmeM vimalasUri aura vajrasena smaraNIya haiN| jinasenake mahApurANa para lalitakIrti(19vIM zatI)kI saMskRta TIkA tathA puSpadaMtake uttarapurANa para prabhAcandra(saM0 1080)kI TIkA upalabdha hai| purANasArasaMgraha dAmanandikI racanA hai jisameM saMkSepameM zalAkA puruSoMkA varNana hai| vaise muni zrIcandra 11vIM zatI aura sakalakIrtike purANasAra gadyAtmaka rupameM upalabdha haiN| caturvizatijinacarita jinadattasUrike ziSya amaracandra(13vIM zatI)kI racanA hai jisameM kramazaH caubIsa tIrthaMkaroMke carita diye gaye haiN| rAyamallAbhyudaya (1615 vi0 saM0) pamasundarakI racanA hai isameM bhI tIrthakaroMke carita haiN| isa sambandha meM kezavasena (saM0 1688) va prabhAcandra ke karNAmRtapurANa ullekhanIya haiN| apane mahApuruSacaritameM merutuMgAcAryane (14vIM zatI) RSabhanAtha, zAMtinAtha, neminAtha, pArzvanAtha tathA mahAvIrasvAmIke caritoMkA varNana kiyA hai| isIko kAvyopadezazataka va dharmopadezazataka bhI kahA gayA hai| apabhraMzameM mahApurANa viSayaka prathama kRti puSpadaMtakA (1022 vi0 saM0) tisahi-mahApurisaguNalaMkAru hai| isameM prathama 37 saMdhiyoMmeM AdipurANa tathA zeSa 65 sandhiyoMmeM uttara purANakI kathAsAmagrI hai| rAmakathAmeM guNabhadrakA anusaraNa hai| kavikI asAdhAraNa kAvyapratibhAke isameM darzana hote haiN|

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76 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha padmapurANa, harivaMzapurANa tathA mahApurANoMke pazcAt alaga alaga tIrthakaroke jIvanacarita bahutAyata se pAye jAte haiM / 10vIM zatIse 18vIM zatI taka aisI racanAe~ hotI rahIM / 12vIM aura 12vIM zatI aise sAhityameM kAphI sampanna rahI haiM, vaise 15vIM se 17vIM zatI bhI kama mahattvapUrNa nahIM hai / bahulatAkI dRSTise adhika se adhika kRtiyA~ zAntinAtha para upalabdha haiN| dvitIya zreNimeM nemi aura pArzvajina saMbaMdhI kRtiyoMko rakhA jA sakatA hai| tRtIya sthAnameM Adi jina RSabha, AThaveM candraprabha aura antima jina mahAvIra ke caritoMkI saMkhyA ullekhanIya haiM / prAkRta bhASA meM Adi tIrthaMkara RSabha para prathama racanA abhayadevake ziSya vardhamAnasUri (1160vi0 saM0) kI prApta hai / 11000 zloka pramANa yaha grantha pAMca paricchedoM meM vibhakta hai| bhuvanatuMgakA RSabhadeva carita 323 gAthAoMmeM nibaddha hai / amaracandra (13vIM zatI) kA saMskRta pazcAnandakAvya 19 sagavAlA AdinAtha ke jIvanacaritra saMbaMdhI hai| vinayacandrakA AdinAthacaritra 1474 vi0 saM0 kI racanA hai| anya racanAe~ bha0 sakalakIrtti (15vIM zatI), candrakIrtti (17vIM zatI), zAntidAsa, dharmakIrti AdikI haiN| hastimalane gadyAtmaka AdinAtha purANa likhaa| lalitakIrttikA AdipurANa jinasenAcArya ke AdipurANa para TIkA mAtra hai| nemikumAra ke putra vAgbhaTane kAvyamImAMsA meM apane RSabhadevacaritakA ullekha kiyA hai / apabhraMzameM raidhU (16vIM zatAbdI vi0 saM0 ) kA AdipurANa ullekhanIya hai / usakA aparanAma meghezvara carita hai / dvitIya tIrthakara saMbaMdhI ajitanAthapurANa budharAghava ke ziSya aruNamaNi (1716 vi0 saM0) kI saMskRta racanA hai| apabhraMza meM saM0 1505kI vijaya siMhakI racanA upalabdha hai / tRtIya tIrthaMkara para saMbhavanAthacaritra kI racanA merutuMgasUrine saM0 1413 meM kI thii| eka tejapAlakI isI nAmakI apabhraMza racanA hai| caturtha tIrthaMkara abhinandana ke caritoM kA ullekha mAtra milatA hai| pA~caveM jina para sumatinAtha caritake racanAkAra vijayasiMha ke ziSya somaprabha ( 12vIM zatAbdI ) the / yaha grantha prAkRtameM 9621 graMthAgra pramANa hai / saMskRta meM bhI isa viSayaka racanAkA ullekha AtA hai / chaTheM tIrthaMkarakA padmaprabhacarita prAkRta meM devasUrine 1254 vi0 saM0 meM rcaa| saMskRta meM zubhacandrakA padmanAbhapurANa 17vIM zatIkA hai| vidyAbhUSaNa aura somadatta ke bhI padmanAbhapurANa prApta haiN| devaprabhasUri ke ziSya siddhasenane bhI padmaprabhacaritra racA thA / sAtaveM tIrthakara saMbaMdhI supArzvanAthacarita prAkRta meM harSapurIya gacchake lakSmaNagaNi (1188 vi0 saM0) ne racA / yaha racanA utkRSTa koTikI karIba 9000 gAthA pramANa hai / devasUrikI bhI prAkRta racanA milatI hai / AThaveM jina candraprabha para prAkRta meM vIrasUri (1138 vi0 sa0 ), yezodeva (saM0 1978), caMdrasUri ke ziSya haribhadra (1223) tathA jinavardhanasUrikI kRtiyA~ haiM / apabhraMza racanA yazaH kIrtikI (15vIM 16vIM zatI) 11 saMghiyoM meM prApta hai / devendra (saM0 1264 ) kI racanA saMskRta va prAkRtamaya hai / saMskRta meM asaga (11vIM zatI), vIranandi ( 11vIM zatI), guNaratnake ziSya sarvAnaMda (saM0 1302), zubhacandra (16vIM 17vIM zatI) tathA paMDitAcArya aura dAmodara kavi (saM0 1727 ) kI racanAe~ upalabdha haiM / andhasena ke candraprabhacaritakA bhI ullekha AtA hai / 17vIM zatAbdIkI racanA paM0 zivAbhirAmakI bhI milatI hai jo sAta sameM vibhakta hai / nauveM tIrthaMkara puSpadantake jIvanapara koI racanA nahIM milatI / nanditADhyakRta gAthALakSaNa ke

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jaina purANa sAhitya : 77 TIkAkAra ratnacandrane usameM Aye hue do padyoM para TIkA karate hue batalAyA hai ki ye padya eka prAkRta racanA puSpadantacaritameMse liye gaye haiN| dasaveM tIrthakara zItalanAthake caritoMke bAremeM sirpha ullekha hI prApta haiN| gyArahaveM jina para zreyAMsacarita jinadevake ziSya haribhadrane saM. 1172meM tathA ajitasiMhasUrike ziSya devabhadrane 11000 granthAna pramANa prAkRtameM race the| saMskRtameM mAnatuMga(saM0 1332)kI kRti prApta hai| surendrakIrtike zreyAMsapurANakA bhI ullekha AtA hai| bArahaveM jina para vAsupUjyacarita prAkRtameM 8000 granthAgra pramANa candraprabhakI racanA hai tathA saMskRta meM varddhamAnasUri(saM0 1299)kI karIba 6000 granthAna prmaann| terahaveM tIrthaMkarakA vimalacarita prAkRtameM race jAnekA ullekha AtA hai| saMskRta meM jJAnasAgarane khaMbhAtameM saM0 1517meM 5650 granthAna pramANa pAMca someM vimalanAthacarita racA thaa| kRSNadAsakA vimalanAthapurANa 10 sargoM meM vibhakta hai tathA 2300 zloka pramANa hai| indrahaMsagaNine saM0 1578meM saMskRtameM vimalacarita racA thaa| ratnanandikA bhI vimalanAtha-purANa milatA hai| caudahaveM jina para prAkRtameM anantanAtha caritake lekhaka Amradevake ziSya nemicandrasUri hai jinhoMne saM0 1213meM 1200 gAthA pramANa apanA grantha likhA thaa| vAsavasena bhI anantanAthapurANake racayitA mAne jAte haiN| - pandrahaveM tIrthakara dharmanAtha para prAkRtaracanAkA ullekha mAtra hai| haricandrakRta eka utkRSTa saMskRta kAvya hai jo 21 saumeM nibaddha hai| isakA nAma dharmazarmAbhyudaya kAvya hai jo 11vI 12vIM zatIkI racanA mAnI jAtI hai| isa para zizupAlavadha, gauDavaho aura naiSadhIya caritakA prabhAva spaSTa hai| nemicandra (saM0 1216) aura sakalakIrti(15vIM zatI)kI racanAoM ke bhI ullekha milate haiM / solahaveM tIrthakara zAntinAthake jIvana saMbaMdhI kaI carita race gaye pratIta hote haiN| prAkRtameM pahalI kRti devacandrasUri (saM0 1160)kI milatI hai| yaha 12000 granthAna pramANa hai| munibhadrakI racanA saM0 1410kI hai| somaprabhasUrikI bhI prAkRta racanA milatI hai| apabhraMzameM mahIcandrane dillImeM saM0 1587meM saMtiNAhacariu racA thaa| saMskRtameM asaga(11vIM zatI)kA zAntinAthapurANa 16 sagoM meM nibaddha hai| inakA eka laghu zAntipurANa bhI milatA hai| ajitaprabhasUri(saM0 1307)kA zAntinAtha-carita 6 sargoM meM vibhakta 5000 zloka pramANa hai| muni devasUrikI kRti (saM0 1322) devacandrasUrikI prAkRta racanA para AdhArita mAnI jAtI hai| mANikyacandrakI racanA (13vIM zatI) 8 sa!meM karIba 6000 granthAna pramANa milatI hai| sakalakIrti (15vIM zatI) tathA zrIbhUSaNa (saM0 1659)ke bhI zAntinAtha-purANa upalabdha haiN| prathama 16 sarga pramANa hai| kanakaprabhakI racanA 485 tathA ratnazekharasUrikI karIba 7000 granthAna pramANa prApta haiN| gadyamaya racanAkAroMmeM bhAvacandra (saM0 1535) tathA udayasAgara ullekhanIya haiN| anya granthakAroMmeM jJAnasAgara, harSabhUSaNagaNi, vatsarAja, zAntikIrti, guNasena, brahmadeva, brahmajayasAgara ityAdi haiN| meghavijayakA zAntinAthacarita to eka pAdapati kAvya hai jo naiSadhacaritake pAdoM ke AdhArase zAMtinAthake jIvanacaritakA varNana karatA hai| sattarahaveM kunthunAthake caritakAroMmeM padmaprabha athavA vibudhaprabhasUri(13vIM zatI)kA nAma AtA hai jinhoMne apanI racanA saMskRtameM kI thii| prAkRtameM bhI kisIne grantha racA thA aura eka anAma carita bhaMDArameM hI honekA ullekha hai| aThArahaveM aranAtha para prAkRta aura saMskRtameM racanAe~ kI gayI thI paraMtu abhI upalabdha nahIM haiN| unnIsaveM jina malinAthake prAkRta caritakAroMmeM jinezvarasUri(saM0 1175)kA nAma AtA hai|

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78 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha inakI racanA 5555 graMthAgra pramANa hai| candrasUrike ziSya haribhadrakI kRti tIna adhyAyoMmeM 9000 granthAna pramANa hai| bhuvanatuMgasUrikA grantha 500 graMtha pramANa tathA eka aura anAma kRti 105 graMthAgra pramANa upalabdha haiN| apabhraMzameM jinaprabhasUrikI 50 padyapramANa racanA hai| jayamizrahalakA bhI mallinAtha purANa upalabdha hai| saMskRtameM pradyumna sUrike ziSya vinayacandrakA malinAtha carita 4250 graMthAgra pramANa 8 someM nibaddha hai| yaha saM0 1474 ke AsapAsakI racanA hai| sakalakIrti (15vIM zatI) bhI malinAtha purANake racayitA hai| anya granthakAroMmeM zubhavardhana, vijayasUri, prabhAcandra va nAgacandra smaraNIya haiN| bIsaveM tIrthakara para zrI candrasUrine prAkRta meM 11000 gAthA-pramANa munisuvratanAthacarita saM0 1193meM racA thaa| padmaprabhakI saMskRta kRti (saM. 1294) 5555 granthAna pramANa tathA muniratnasUrikI racanA 23 sagoMmeM nibaddha karIba 7000 graMthAgra pramANa haiN| kRSNadAsakA munisuvratapurANa (saM0 1681) 23 sImeM samApta huA tathA arhaddAsakA 10 sargomeM jisakA apara nAma kAvyaratna hai| kezavasena, surendrakIrti tathA hariSeNa anya purANakAra gine gaye haiN| ikkIsaveM jina saMbaMdhI neminAthapurANa sakalakIrtikI saMskRta racanA hai| anya namicaritoMke ullekha mAtra milate haiN| bAIsaveM tIrthakara neminAthake caritoMkI vipulatA pAyI jAtI hai| prAkRta racanAoMmeM jinezvarasUrikA / neminAtha carita saM01175kI kRti hai| ratnaprabhasUrikI gadyapadyamaya racanA 13600 granthAna pramANa 6 adhyAyoMmeM vibhakta hai| isakA racanA-kAla vi0 saM0 1233 hai| tIsarI racanA maladhArI hemacandra(12vIM zatI)kI 5100 granthAgra pramANa hai| saMskRtameM prathama naMbara sUrAcAryakA AtA hai jinhoMne saM0 1090meM neminAthacarita rcaa| yaha dvisandhAnAtmaka hai aura tIrthaMkara RSabha para bhI isakA artha ghaTita hotA hai| aisA hI dvitIya grantha ajitadevake ziSya hemacandrasUrikA hai jisakA nAma nemidvisandhAna kAvya hai| somake putra vAgbhaTa(12vIM zatI)kA neminirvANakAvya 15 soMmeM vibhakta hai| yaha mahAkAvya zailIkI eka utkRSTa racanA hai| udayaprabhasUrikI 2100 granthAgra pramANa racanA saM0 1299ke AsapAsakI hai| upAdhyAya kIrtirAja (saM01495)kA neminAtha carita 12 soMmeM nibaddha hai tathA brahma nemidatta(saM0 1575)kA neminAtha purANa 16 adhyaayoNmeN| guNavijayakRta carita (saM0 1668) gadyAtmaka hai tathA 13 adhyAyoMmeM vibhakta hai| saMganake putra vikramakA nemidUtakAvya eka vizeSa kalAkRti hai jisameM meghadUta ke AdhAra para samasyApUrti kI gayI hai| tilakAcAryakI racanA 3500 granthAgra pramANa hai| bhojasAgara, narasiMha, hariSeNa aura maMgarasakI bhI kRtiyAM milatI haiN| apabhraMzameM candrasUrike ziSya haribhadrakA nemiNAhacariu (saM0 1216) 8032 granthAna pramANa pAyA jAtA hai| mahAkavi dAmodarakI racanA saM0 1287kI hai| lakSmaNa devakI kRti saM0 1510ke pUrvakI hai tathA vaha 13 kaDavaka pramANa 4 saMghiyoMmeM nibaddha hai| teIsaveM jina saMbaMdhI devabhadragaNikA prAkRtameM racA gayA pArzvanAthacarita (saM0 1168) gadya-padya mizrita hai tathA 9000 granthAgra pramANa 5 uddezoMmeM vibhakta hai| nAgadevane pArzvanAthapurANa racA thA tathA eka anAma kRti pArzvanAthadazabhavacarita nAmaka 2564 gAthA pramANa milatI hai| saMskRtameM prAcIna racanA jinasenakRta pArzvabhyudaya (10vIM zatI) hai jo eka uttama kAvya hai| isameM meghadUtake padyoMkA samAveza kiyA gayA hai| vAdirAjakA pArzvanAthapurANa (saM0 1082) bhI upalabdha hai| guNabhadrasUrike ziSya sarvAnandasUrikI racanA karIba 12vIM zatAbdIkI hai| mANikyacandrakA pArzvanAthacarita (saM0 1276) 10 sargoM meM nibaddha 5278 granthAgra pramANa hai tathA guNaratnake ziSya sarvAnanda(saM0 1291)kA 5 sagAmeM vibhakta hai| bhAvadevasUrine saM0 1412 meM 6400 granthAna pramANa carita likhA thaa| vinayacandrakI racanA (15vIM zatI)

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jaina purANa sAhitya : 79 4709 granthAna pramANa hai| padmasundarakA (saM01615)pArzvanAthakAvya 7 sargoM meM nibaddha milatA hai| hemavijayane saM0 1632meM 3160 granthAna pramANa carita rcaa| udayavIragaNi(saM0 1654)kI racanA gadyAtmaka hai jo ATha adhyAyoMmeM vibhakta hai| sakala kIrtikA pArzvanAthapurANa 15vIM zatIkA tathA vAdicandrakA 17 vIM zatIkA hai| candrakIrtine apanA purANa saM0 1654meM racA jo karIba 3000 graMthAgra pramANa hai tathA isameM kula 15 sarga haiN| apabhraMzameM prathama racanA panakIrtikI saM0 992kI 18 saMdhi-pramANa milatI hai| isake pazcAt dUsarI apabhraMza racanA zrIdhara kI saM0 1189kI milatI hai| asavAlakA pArzvanAthapurANa 13 saMdhi pramANa hai jo 15vIM zatIke AsapAsakI racanA mAnI jAtI hai| raidhUkA bhI pArzva para eka purANa upalabdha hai| carama tIrthakara mahAvIrake jIvana para prAkRta kAvya racayitAoMmeM sarvaprathama nAma guNacandragaNikA (saM0 1139) AtA hai jinakI racanA 8 sa!meM nibaddha hai| ye sumativAcakake ziSya the| dvitIya kAvyakAra devendragaNi urpha nemicandrasUri (vi0 saM0 1141) hai jinakA graMtha 3000 granthAna pramANa hai| anya caritakAroMmeM mAnadevasUrike ziSya devaprabhasUri tathA jinavallabhasUri ke nAma Ate haiN| saMskRta kAvyoMmeM prathama naMbara asaga(11 vIMzatI)ke sanmaticaritra athavA vardhamAnacaritrakA hai jo 18 someM vibhakta hai| sakalakIrtikA vardhamAnapurANa (saM0 1518) 19 sagoMmeM pAyA jAtA hai| yaha racanA 3035 granthAna pramANa hai| mahAvIrapurANakAroMmeM pacanandi, kezava, vANIvallabha ityAdike nAma bhI ullekhanIya haiN| apabhraMzameM raidhakA sammaiNAhacariu 10 saMdhiyoMmeM nibaddha hai| jayamitrakA 11 saMdhivAlA vaDamANakavvu milatA hai| narasenakI vaDamANakahA bhI milatI hai| ye sabhI racanAe~ 16vIM zatIke AsapAsakI ThaharatI haiN| do apabhraMza kRtiyA~ aura pAyI jAtI haiM eka anAma tathA dvitIya jinezvarasUrike eka shissykii| pahalI 24 tathA dUsarI 108 kaDakka pramANa hai| ina atItake tIrthaMkaroMke alAvA AgAmI jina amamake jIvana para bhI eka racanA saM0 1252kI ratnasUrikI upalabdha hai| ina jinacaritoMmeM tattatkAlIna jo cakravartI, baladeva vAsudeva va prativAsudeva hue unakA bhI varNana prAyaH samAviSTa hai, ataH unake jIvana para pRthak pRthak racanAe~ bahuta kama mAtrAmeM upalabdha haiN| jo kucha bhI svataMtra racanAe~ milatI hai unake nAma isa prakAra haiM sagaracakricarita 12vIM zatIse pUrvakI eka anAma prAkRta racanA hai| jinapAlakRta sanatkumAra caritra 2203 granthAna pramANa eka saMskRta racanA hai tathA candrasUrikI 8127 granthAna pramANa saM. 1214 kI racanA hai| cakravartI subhaumake jIvana para ratnacandra (saM0 1683) tathA paM0 jagannAthakI saMskRta kRtiyA~ upalabdha haiN| hariSeNacaritra prAkRta va apabhraMzameM milate haiM, paraMtu anaam| jayacakripurANa bra0 kAmarAjakI saM0 1560kI 13 sarga vAlI eka saMskRta racanA hai| prAkRtameM eka anAma jayacakricarita bhI upalabdha hai| triSaSTi zalAkA puruSoM ke atirikta dhArmika vIrapuruSa, zramaNa-zramaNI, zrAvaka-zrAvikA aura kucha kAlpanika pAtroM ke jIvana saMbaMdhI jo racanAe~ kI gayIM unako bhI prAyaH caritakI saMjJA hI dI gayI hai| phira bhI kucha aisI bhI kRtiyA~ upalabdha haiM jinako purANa bhI kahA gayA hai, jaise agaDadatta-purANa, kuberapurANa, zreNika-purANa, gajasiMha-purANa ityaadi| aisI racanAoMkA vivaraNa yahAM para vivakSita nahIM hone ke kAraNa unakA yahAM para samAveza nahIM kiyA gayA hai| uparyukta vivaraNase spaSTa hai ki jaina purANa sAhitya vipula mAtrAmeM upalabdha hai| abhI bhI granthabhaMDAroMmeM bahuta-sI kRtiyA~ par3I huyI haiM jinakA prakAzana nahIM huA hai| sAhityapremiyoM tathA jaina samAja

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80 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha ko inake prakAzanakI sucAru vyavasthA karanI cAhie jisase yaha aprakAzita rUpameM hI lupta na ho jAya jaisA ki jaina paramparAmeM hotA AyA hai| saMdarbha grantha sUci 1 AdipurANa, jinasenAcArya / 2 jinaratnakoza, pro. ha. dA. velaNakara, pUnA / 3 jaina-grantha-prazasti-saMgraha, prathama bhAga, zrI ju0 ki. mukhtAra, dillI / 4 prAkRta sAhityakA itihAsa, DaoN. jagadIzacandra jaina, banArasa / 5 bhAratIya saMskRtimeM jainadharmakA yogadAna, DA. hIrAlAla jaina, bhopaal| 6 rAjasthAnake jaina zAstrabhaNDAroMkI granthasUci, bhAga 1-4, jayapura / hary

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pArasanAtha kilAke jaina avazeSa kRSNadatta vAjapeyI uttara pradezake bijanaura jilAmeM nagInA relave sTezanase lagabhaga 9 mIla uttara-pUrvakI ora bar3hApura nAmaka * kasabA hai| vahAMse karIba 3 mIla pUrva eka prAcIna kilAke bhagnAvazeSa dikhAI par3ate haiN| ise 'pArasanAtha kilA' kahate haiN| isa nAmase anumAna hotA hai ki kisI samaya vahA~ jaina tIrthakara bhagavAn pArzvanAthakA maMdira thaa| kucha varSa pUrva ina tIrthakarakI eka vizAlakAya bhana pratimA bar3hApura gAMvase prApta huI hai, jisase ukta anumAnakI puSTi hotI hai| isa kileke saMbaMdhameM aneka janazrutiyA~ haiN| eka janazruti yaha hai ki pArasa nAmake rAjAne vahA~ apanA kilA banavAyA thaa| zrAvastIke zAsaka suhaladevake pUrvajoM ke sAtha bhI isa kilekA saMbaMdha jor3A jAtA hai| jo prAcIna avazeSa yahAM mile haiM unase itanA kahA jA sakatA hai ki I0 dasavIM zatAbdIke lagabhaga kisI zAsakane vahAM apanA kilA banavAyA aura kaI jaina maMdiroMkA bhI nirmANa kraayaa| yaha batAnA kaThina hai ki isa kile tathA maMdiroMko kisane naSTa kiyaa| sambhava hai ki ruheloMke samayameM yA unake pahale yaha barabAdI huI ho| kAlAntarameM isa sthAnako upekSita chor3a diyA gayA aura dhIredhIre vaha bIhar3a bana gyaa| kucha varSa pahale mujhe isa sthAnako dekhanekA avasara prApta huaa| uttara pradeza sarakArane jaMgalake eka bhAgako sApha karavAkara use khetIke yogya banA diyA hai| vahAM 'kAzIvAlA' nAmase eka bastI bhI AbAda ho gaI hai| isake utsAhI nivAsiyoMne jamInako hamavAra kara use khetIke yogya kara liyA hai| itanA hI nahIM, unhoMne vahAM para bikharI huI purAnI mUrtiyoMkI bhI rakSA kI hai| saradAra ratanasiMha nAma ke sajanane kilAse eka atyanta kalApUrNa pASANa-pratimA prApta kI hai| yaha balue sapheda pattharakI banI hai aura u~cAI meM do phuTa ATha iMca tathA caur3AI meM do phuTa hai| mUrti jaina tIrthaMkara mahAvIrakI hai| bhagavAna mahAvIra kamalAMkita caukI para dhyAnamudrAmeM AsIna haiN| unake eka ora neminAthajIkI tathA dUsarI ora candraprabhujIkI khar3I mUrtiyA~ haiN| tInoM pratimAoMke prabhAmaMDala utphulla kamaloMse yukta haiN| pradhAna mUrti ke sirake donoM ora kalpavRkSake patte pradarzita haiN| mUrtike ghugharAle bAla tathA Uparake

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82 : zrI mahAvIra jaina vidyAlaya suvarNamahotsava grantha tIna chatra bhI darzanIya haiN| chatroMke agala-bagala susajjita hAthI dikhAye gaye haiM, jinakI pIThake pIche kalApUrNa stambha haiN| hAthiyoM ke nIce hAthoMmeM mAlA liye hue do vidyAdhara aMkita haiN| pradhAna tathA choTI tIrthakara pratimAoMke pArzvameM caurI-vAhaka dikhAye gaye haiN| mUrtikI caukI bhI kAphI alaMkRta hai| usake bIca meM cakra hai, jisake donoM ora eka-eka siMha dikhAyA gayA haiN| cakrake Upara kIrtimukhakA citraNa hai| caukIke eka kinAre para dhana ke devatA kubera dikhAye gaye haiM aura dUsarI aura godameM baccA liye devI aMbikA haiN| caukIke nicale pahalU para eka paMktimeM brAhmI lekha hai jo isa prakAra hai-zrI viraddhamana smidevH| sma 1067 rANalasutta bharatha pratimA prtthpi| (arthAt saMvat 1067meM rANalake putra bharatha (bharata) dvArA zrI varddhamAna svAmIkI mUrti pratiSThApita kI gii| lekhakI bhASA zuddha saMskRta nahIM hai| pahalA aMza 'zrI varddhamAnasvAmidevaH'kA bigar3A huA rUpa hai| 'sma' zabda vikrama saMvat ke liye prayukta huA hai| aisA mAnane para mUrtikI pratiSThAkI tithi 1010I0 AtI hai| pArasanAtha kilese isa abhilikhita mUrti tathA samakAlIna anya mUrtiyoMke prApta honese patA calatA hai ki 10vIM-11vIM zatImeM pArasanAtha kilA jaina dharmakA eka acchA kendra ho gayA thaa| jAna par3atA hai ki vahAM eka bar3A jaina vihAra bhI thaa| isa sthAnakI khudAIse prAcIna imAratoMke I avazeSa prakAzameM Aye haiN| kilAkA sarvekSaNa aura utkhanana karane para adhika mahatvapUrNa vastue~ prApta ho skeNgii| pArasanAtha kilAkI jo AMzika saphAI huI hai usameM aneka bela-bUTedAra iMTeM, pattharake kalApUrNa khaMbhe, siradala, dehalI tathA tIrthakara mUrtiyA~ prApta huI haiN| aneka zilApaTToM para bela-bUTekA kAma bahuta sundara hai| eka patthara para saMgItameM saMlagna strI-puruSoMkI mUrtiyA ukerI huI haiN| ina avazeSoMmeMse mukhyakA paricaya nIce diyA jAtA hai saM0 1-darvAjekA siradala-isa siradalake bIcameM kamala-puSpoMke Upara do siMha baiThe hue dikhAye gaye haiN| siMhAsanake Upara bhagavAn tIrthakara dhyAnamudrAmeM avasthita haiN| unake agala-nagala eka-eka tIrthakara mUrti khaDgAsanameM dikhAI gaI hai| madhya bhAgake donoM ora bhI isI prakArakA citraNa hai| siradalake donoM konoM para eka-eka tIrthakara pratimA khaDgAsanameM do khambhoMke bIca meM banI hai| sabhI tIrthaMkaroMke Upara chatra haiN| saM0 2-dehalIkA bhAga-yaha avazeSa usa sthAnase prApta haA jahAMse bhagavAna mahAvIrajIkI baDI pratimA milI hai| isake bIca meM kalpavRkSakA alaMkaraNa hai, jisake pratyeka ora do-do devatA hAthameM maMgala ghaTa lie hue khar3e haiN| unake khar3e honekA tribhaMgI bhAva bahuta AkarSaka hai| isa pattharameM kinArekI ora zerakI mUrti hai| aisI hI mUrti pattharake dAyeM kone para bhI thI, jo TUTa gaI hai| saM0 3-saMgItakA dRzya-eka anya dehalI para, jo kileke bIcase milI thI, saMgItakA dRzya bar3I sundaratAse pradarzita kiyA gayA hai| isameM eka ora kaI AkRtiyA~ tathA alaMkaraNa bane haiM tathA dUsarI aura bhAvapUrNa mudrAmeM eka yuvatI nRtya kara rahI hai| usake agala-bagala mRdaMga aura maMjIra bajAne vAle puruSa ukere hue haiN| ina tInoMkI veSabhUSA bar3e kalApUrNa DhaMgase dikhAI gaI hai| saM04-dvAra-stambha-pArasanAtha kilese aneka sundara dvAra-stambha bhI mile haiN| eka stambhake nIce makarake Upara khaDI huI gaMgA dikhAI gaI haiN| unake agala-bagala do paricArikAe~ tribhaMgI bhAvameM pradarzita haiN| ye mUrtiyAM graiveyaka, stanahAra, kiMkiNi sahita mekhalA nathA anya alaMkaraNa dhAraNa kiye hue haiN| khaMbheke Upara patrAvalIkA aMkana dikhAyA gayA hai|

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pArasanAtha kilA ke jaina avazeSa : 83 se05-yamunA sahita dvAra-stambha-isa stambha para nIceke bhAgameM apane vAhana kacchapa para ArUr3ha yamunA dikhAI gaI haiN| inake sAtha bhI usI prakAra paricArikAyeM pradarzita haiM jaisI ki pahale dvArastambha pr| isase patA calatA haiM ki ye donoM khambhe eka hI dvAra para lage hue the| dvAra-khaMbhoMke Upara gaMgA-yamunAkA citraNa guptakAlake prArambhase milane lagatA hai| guptakAlake mahAkavi kAlidAsane darvAje para lagI huI devI rupA gaMgA-yamunAkI mUrtiyoMkA ullekha isa prakAra kiyA hai : "mUrte ca gaMgA yamune tadAnIM sacAmare devmsevissaataam|" (kumArasaMbhava 7,42) (arthAt usa samaya mUrta rUpameM gaMgA aura yamunA hAthoMmeM ca~vara liye hue devakI sevAmeM upasthita thiiN)| se0 6-dvArapAla sahita dvAra-stambha-isa khambhe meM nIce eka moTA daMDa liye dvArapAla khaDA hai| usakI laMbI dADhI tathA bAloMkA jUr3A darzanIya hai| isakA DhaMga usI prakArakA hai jaisA ki madhyakAlIna caMdela kalAmeM milatA hai| isa khaMbheke UparI bhAgameM phUloMkA alaMkaraNa dikhAyA gayA hai| saM07-dvAra-stambhakA nicalA bhAga-isa khaMbhekA kevala nIcekA hissA bacA hai, jisa para pUrvokta DhaMgakA eka dvArapAla khar3A hai| isakI bhI vezabhUSA pahale ke dvArapAla-jaisI hai| - saM08-bhagavAn pArzvanAthakI mUrti--yaha mUrti bar3hApura gAMva se AI thii| yaha tArasanAtha kilAse hI vahA~ kisI samaya gaI hogii| durbhAgyase isakA muMha, hAtha tathA pairoMkA bhAga tor3a DAlA gayA hai| yaha mUrti kAphI vizAla hai| bhagavAn dhyAnamudrAmeM siMhAsanake Upara baiThe hue haiN| Asana para sarpakI aiMDadAra kuNDaliyAM dikhAI gaI haiM aura sirake Upara phaNakA ghaTATopa hai| agala-bagala nAga aura nAginakI mUrtiyAM utkIrNa haiN| unake Upara dhyAnamudrAmeM tIrthakara-yugmakI pratimAeM hai| caraNa-caukI ke Upara do alaMkRta siMha dikhAye gae haiN| yaha mUrti bhagavAn mahAvIrakI pUrvokta pratimAkI taraha bar3I kalApUrNa hai| saMbhavataH madhyakAlameM pArasanAtha kilAkI bhUmi para nirmita mukhya maMdirakI yaha mUrti thii| pArasanAtha kile ke kitane hI prAcIna avazeSa idhara-udhara pahuMca gae haiN| mujhe nagInAke jaina maMdirameM kaI prAcIna mUrtiyAM dekhaneke milIM, jinakI zilpa-racanA pArasanAthakI hI kalAke anurUpa hai| ina mUrtiyoMmeM dhyAnamudrAmeM baiThe hue tIrthakarakI eka mUrti vizeSa ullekhanIya hai| stambhakA eka bhAga bhI yahAM surakSita hai jisa para khaDgAsanameM bhagavAna tIrthakara dikhAye gaye haiN| ina sabhI prAcIna avazeSoMko surakSita rakhanA Avazyaka hai| madhyakAlameM uttara bhAratameM jaina dharmakA jo vikAsa huA use jAnane meM ye kalAkRtiyA~ tathA abhilekha sahAyaka siddha hue haiM /

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A Comparative Study of the Jaina and the Samkhya-Yoga Theories of Parinama INDUKALA H. JHAVERI THE concept of Parinama is very old and its beginnings can be traced I as far back as the Rgveda. It has passed through many stages of development before it assumed its finally finished form. Today it occupies a very important place in Indian Philosophy. So much so that it has been commonly accepted as a fundamental doctrine by almost all the systems of Indian Philosophy with slight modifications here or there. Though the concept has thus found almost universal recognition, we shall here confine ourselves to a comparative study of the Parinamavada as postulated in the Jaina and the Samkhya-Yoga systems because these two systems show close resemblance in this respect. Both the Samkhya-Yoga and the Jaina seem to have followed Yaska's definition of Viparinama, in their doctrine of Parinama, i.e., they have viewed the world-process as change in an abiding entity or entities (viparinamate iti apracyavamanasya tattvad vikaram). Umasvati the author of the Tattvartha-sutra analyses the Parinama nature of reality into utpada, vyaya and dhrauvya. Vyasa the commentator of the Yoga-sutra defines Parinama as 'avasthitasya dravyasya purvadharma-nivrttau dharmantarotpattih'. These two views are, in substance, identical. Vyasa has analysed Parinama into Dharma-Parinama, LaksanaGJ.v. 1

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2 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Parinama and Avastha-Parinama. The Jaina has not analysed Parinama in this way. Nevertheless, these become expressed in his Dravya-Paryaya and Guna-Paryaya. Every Dravya-Paryaya (such as a pot in the case of Pudgala and manhood (manusyatva, in the case of Jiva) and GunaParyaya (such as darkness or yellowness in Pudgala or Jnana-Paryaya in Jiva) of the Jaina represents Dharma-Parinama or change of aspect. When the same is viewed from the standpoint of its time variations of past, present and future, it is Laksana-Parinama. The oldness and newness or tivrata-mandata in the case of Jiva which a Dravya-Paryaya or a Guna-Paryaya suffers, as a result of time-process, is its AvasthaParinama. This Avastha-Parinama, it must be noted, is possible only in the Vyanjana-Paryaya of the Jaina which abides for a certain length of time. There cannot be such Avastha-Parinama in the Artha-Paryaya? as it is momentary. Both the Samkhya and the Jaina understand Parinama as a wide concept including the material change in time (AparispandatmakaParinama) as well as physical movement in space, technically called Parispanda. Both of them, sometimes, bring these two kinds of changes under two types of kriya, viz., parinamatmika kriya and parispandatmika kriya. In the Jaina view, the Parispanda is possible only in Jiva and Pudgala, as each Jiva and Pudgala, that is atom, is limited and, therefore, capable of movement. In Dharma, Adharma and Akasa which are indivisible wholes and pervade this loka (universe), there is evidently no scope for Parispanda. In the Samkhya, Parispanda has to be negated in Prakrti which is one homogeneous whole and all-pervading. It becomes possible in the different products of Prakyti, from Buddhi onwards, which are limited compared to their cause, the Praksti. There is, however, one difficulty in understanding Parispanda in the Samkhya, viz., that it has to be visualized without Akasa. Vijnanabhiksu felt this difficulty and hence, he clarified that Prakrti subsumes Akasa. But this interpretation is not vouchsafed by the older Samkhya texts which derive Akasa from the Sabda-Tan-Matra. So we must understand 1 See Vyasa-bhasya on the Yoga-sutra, III. 15. 2 When we conceive the man as devoid of his subdivisions-as simply a man, it is the one indivisible Vyanjana-Paryaya. If, however, along with the conception of a man, we at the same time are conscious of the variations of a boy, a youth, etc., these latter are said to be Artha-Paryayas of the Vyanjana-Paryaya of a man. Samkhya-pravacana-bhasya on the Sarkhya-sutra, II. 12. 'Nityau yau dilckalau tau alcasa-prakrti-bhutau prakter guna-visesau eva.'

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JAINA AND SAMKHYA-YOGA THEORIES OF PARINAMA : 3 Parispanda in Samkhya before the production of Akasa as something which is possible without space. For the Jaina, however, there is no such difficulty as Akasa is accepted as an underived entity. The Samkhya and the Jaina show certain affinity in regard to the concept of Kala. The Samkhya does not recognize Kala as an independent entity. It is only an aspect of Prakrti, i.e. identical with the Parinamas of Prakrti. A moment is identified with the unit of change of the Gunas. In the Jaina system, there are two divergent views of Kala since the Agama period. One regards it as an independent entity, a sixth Dravya, while the other identifies it with the changes of Jiva and Ajiva. The second view is similar to that of the Samkhya. Next, the Samkhya-Yoga view of the regulation of Parinama from the point of view of place (desa), time (kala), form (akara) and extraneous cause (nimitta) finds a certain parallel in the Jaina view according to which the Parinama of every object is conditioned by substance (dravya), place (ksetra), time (kala) and the essential characteristics which constitute a thing (bhava). This is illustrated, by means of an illustration of a pot, in the Raja-vartika thus : 'Yatha ghato dravyatah parthivatvena utpadyate na jalatvena. Desatah ihatyatvena na pataliputrakatvena. Kalatah vartamanakalataya natitanagatabhyam. Bhavatah mahattvena na alpatvena (athava bhavatah raktatvadina)'pp. 180-182. 4 "Kalas ca iti eke'-Tattvartha-sutra, V. 38. 5 In the Samkhya-Yoga, all things being composed ultimately of the three gunas, there are no intrinsic differences between them (sarvam sarvatmakam). The only difference is the difference in the constitution of the collocation of the gunas. Theoretically, therefore, it is possible to change anything in the world to any other provided the necessary collocations could be arranged. But still such a change is not possible to an unlimited degree for in the constitution of the relations of the gunas, there are limitations and obstacles which cannot be overstepped. These limitations may generally be counted in the phenomenal world of change, as being of the nature of time, space, form and disposing cause. Thus Kashmir being the country of saffron, it does not grow in the Pancala country even though the other causes of its growth may be present there. Similarly, there are no rains in the summer season, therefore, the growth of rice is not possible in that season; so also the form of a man cannot take its rise from that of a deer.' Tattvavaisaradi on the Yoga-sutra, III. 14. Sarvah sarvatmakam iti. Desa-kalakara-nimittapabandhat na khalu samanakalam atmanam abhivyaktir iti.'-Vyasa-bhasya on the Yogasutra, III. 14. the growly, there are nuses of its grow in the

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4: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME 'From the standpoint of substance, a pot is produced from the earth and not from the water. From the standpoint of place, it is produced here (i.e. at the particular place where it is produced) and not elsewhere, in Pataliputra, etc. From the standpoint of time, it is produced in the present and not in the past or future. From the standpoint of Bhava, it comes to have the Mahat-Parinama and not the Alpa-Parinama (or it comes to have the qualities of redness, etc.).' The causal theory of the Samkhya is the Satkaryavada which is deducible from his doctrine of Parinama. It means that the effect preexists in the cause and is only manifested by causal operation. There is no new creation or production of the effect as such. The Jaina, even though accepting the doctrine of Parinama, calls his causal theory Sadasatkaryavada, i.e., the effect is both pre-existent and pre-nonexistent. It is existent in so far as it potentially pre-exists in the cause, and non-existent in so far as its actual manifestation is a novel emergence. Thus the Jaina, too, in the way of the Samkhya, regards effect as manifestation of the abiding entity but the phrase Satkaryavada being suggestive of 'Ekaratism', the Jaina as an 'Anekantist brings in Asat along with Sat. He also seems to be influenced by the Vaisesika logic which emphasises the newness of the effect, though he would not regard manifestation as new creation in the Vaisesika sense. For the Samkhya, too, it must be noted, the manifestation (abhivyakti) is non-existent (asat) and is brought about by the operation of the Karakas but he does not use the term Asat. Vidyananda in his Astasahasri draws attention to this by stating that the Jaina view is really meant by the Samkhya even though he does not profess it, and that the Samkhya cannot maintain his Satkaryavada in an absolute sense without stultifying his whole scheme of metaphysics. The differences in the application of the theory of Parinama between the Samkhya and the Jaina are due to their differences of view regarding the nature, number and derivation of the original entities. The Samkhya analyses reality in two ways. One, on the principle of 'Sentience' (Cetana), and 'Non-sentience' (Jada) and the second way is to view reality as Parinami and Aparinami or Kutastha. He identifies the sentient with the Kutastha and all change, physical and mental, is relegated to the nonsentient Prakrti. The Jaina dualism accepts the first principle of division only, viz., Sentience (Jiva) and Non-sentience (Ajiva) and rejects the second. This is the fundamental difference between the Sarnkhya and the 6 Asta-sahasri, p. 104.

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JAINA AND SAMKHYA-YOGA THEORIES OF PARINAMA : 5 Jaina. The latter regards the soul also as undergoing Parinama. For him, all reality (Sat) has the characteristic of utpada, vyaya and dhrauvya and so both the Jiva and the Ajiva must possess this characteristic. Next, the Samkhya regards the transforming Praketi as responsible for all changing phenomena. To make his cosmology systematic, he first derives in a fixed order the twenty-three tattvas from Prakrti and then regards all phenomena as the result of the qualitative combination and separation of the twenty-three tattvas. The primary derivation is, in Samkhya phraseology, called Tattvantara-Parinama; while the subsequent parinama is called Dharma-Laksana-Avastha Parinama. For the Jaina, it was not necessary to have Tattvantara-Parinama because he starts with the five or six tattvantaras as fundamental and underived entities. The Jaina is really a pluralist because in addition to the category of Jivas, he assumes four underived Ajiva categories, viz., Pudgala, Dharma, Adharma and Akasa. He explains all psychic phenomena as resulting from the Parinamas of Jivas, all material phenomena from the Parinamas of Pudgala----consisting of infinite atoms; while Dharma, Adharma and Akasa make possible the movement (gati), staticity (sthiti) and occupation (avagaha) respectively of Jiva and Pudgala. As just said, the essential difference between the Samkhya and the Jaina lies in the fact that the principle of Parinama is not applied to Purusas by the Samkhya, while the Jaina would apply it both to Jivas and Ajivas. From this difference ensue various differences of views between the Samkhya and the Jaina. The denial of Parinama in the Purusas has made it highly difficult for the Samkhya to relate them to the changing Praksti and has prevented them to play any substantial role in the world-phenomena. In fact, Prakrti, having the inherent power to change, could very well function in the absence of such Purusas whose existence, however, makes the natural movement of Prakyti teleological. This is difficult to grasp because we are accustomed to associate purposive activity with sentient beings. Another consequence of this assumption is that jnana, bhoga, bandha, moksa, etc., which appear as of Purusa, become really so many transformations of Prakrti. Purusa is never bound and, therefore, has never to be free. He merely witnesses all the transformations of Prakyti. Thus, in Samkhya, truly speaking, bandha and moksa, are the transformations of Prakrti. The above difficulties do not confront the Jaina. The application of Parinama to Jivas enables him to smoothly relate the two, viz., Jiva

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6: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME and Pudgala, and explain their mutual influence and interaction. The Jaina theory of Parinama, which in the case of Jiva takes the form of bhava-karma and in the case of Pudgala, that of dravya-karma, makes it possible to attribute jnana, bhoga, bandha, moksa, etc., to Jivas directly. Thus the infinite variety of phenomena and their significance to Jivas, as objects of knowledge or enjoyment and as objects from which Jivas have to be free, are consistently explained by the Jaina theory of Parinama. The only difficulty that the Jaina will have to face is that, if by definition, Jiva and Pudgala are fundamentally different from each other, how the transformations (parinamas) of the one can ever be related to those of the other. In the case of the Samkhya, there is no such difficulty, because the Purusas and Praksti are always distinct from each other and never come in real contact. The bhoga and moksa in the Purusa are always 'aupacarika (i.e., are only a way of speaking). The Samkhya is thus metaphysically in a stronger position, while the Jaina's position is empirically more comprehensible. My UZEN

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Anekanta and MadhyamaPratipad NATHMAL TATIA VARDHAMANA Mahavira started with implicit faith in ahimsa and austerities, while Gautama Buddha was impressed by the practice of meditation. The supreme problem of Mahavira was the conflict of ontological doctrines of his time, which led him and his followers to formulate the doctrine of anekanta, The Buddha was troubled about the psychoethical discipline, specially the final end of meditation and the rational adjustment of various codes of life, hedonistic and ascetic, which he characterized as madhyama-pratipad (middle course). The ontologicai pursuits of Mahavira and his followers led to the discovery of the conflict in the nature of things, and the resolution of such conflict in their theory of anekanta. A real must change and this change is impossible without a mode that has originated, a mode that has passed and also an aspect that continues to exist in order to make origination and passing possible. In other words, a real must have a persistent feature in order to appropriate change, that is, a real must be a substance capable of assuming modes. This is anekanta, that is, the doctrine which accepts many-sidedness of a real which is necessarily continuity and change rolled into one. The Buddha singled out the moral aspect of life and discovered the causal doctrine of pratityasamutpada which traced the final source of life and death in avidya. This causal law determined the ontological

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8 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME speculations of the Buddha and his followers. Substance, according to this law, was a myth raised up by imagination. The modes alone were real without any underlying unity. One mode replaces another in unbroken succession determined by causal nexus. The unity is replaced by an infinite chain of self-charged moments in this doctrine of pratityasamutpada which literally means 'origination depending on relevant causes and conditions'. Nothing is independent and self-sufficient in this view. The real is also sunya, that is, devoid of a character which is selfexplanatory without any reference beyond itself. The concept of unity is a composite act of imagination, called upadaya-prajnapti, that is, a concept (prajnapti) depending upon (upadayo) other constituent concepts. Nagarjuna, a Madhyamika Buddhist, equates madhyama-pratipad with these three aspects of the real when he says : yaH pratItyasamutpAdaH zUnyatAM tAM pracakSmahe / sA prajJaptirupAdAya pratipat saiva madhyamA / / Another aspect of pratityasamutpada and madhyama-pratipad is the non-acceptance of any of a set of two extreme concepts or views. Nagarjuna pays homage to the Buddha as the promulgator of the negation of all sets of conflicting concepts in the following verses : anirodhamanutpAdamanucchedamazAzvatam / anekArthamanAnArthamanAgamamanirgamam // yaH pratItyasamutpAdaM prapaJcopazamaM zivaM / dezayAmAsa saMbuddhastaM vande vadatAM varam // The Yogacara Buddhist also eulogizes the Buddha's doctrine as the negation of the cognized (grahya) and the cognizer (grahaka). Thus, the madhyama-pratipad, originally a doctrine of life, came to be interpreted by later Buddhist thinkers as a doctrine of reality, from the ontological as well as the epistemological point of view. Anekanta, on the other hand, was an ontological doctrine from the beginning. It was an attempt to explain causation and also a doctrine of relation. A substance can have different modes and yet preserve its unity and identity with those modes. The criterion of unity is inseparability. There can be distinction without difference. Modes are different among themselves and distinct from the substance, but they are not different from the latter. The relation between substance and modes is identity-cum-distinction. The Buddhist does not agree with the Jaina and consequently fails to find any unity in the knowing, feeling and willing of

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ANEKANTA AND MADHYAMA-PRATIPAD : 9 the same person, which leads him to the denial of the entitative character of personality. Knowing, feeling and willing also are finally rejected by the Madhyamika Buddhist as unreal. Thus, while the theory of anekanta was an attempt at the synthesis of the conflict apparent in experience and reason, the madhyama-pratipad, as interpreted by later Buddhist thinkers, accentuated the conflict and denounced both the extremes as untenable and unacceptable. If anekanta gives an impression of eclecticism, the madhyama-pratipad was made to play a role which it was perhaps not intended to do. sAsIra

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Svabhavavada (Naturalism) : A Study V. M. KULKARNI THE Svetasvatara Upanisadi gives a list of first causes of the variety of I the world according to some thinkers. This list includes Time, Nature, Destiny, Chance (Accident), the Elements and Purusa. This paper will confine itself mainly to an investigation of the real nature of the doctrine of Svabhava (Naturalism as opposed to Accidentalism) by scrutinising available references to it in Sanskrit and Prakrit literature. In the commentary to the Svetasvatara Sankaracarya? explains svabhava as inherent nature of a thing, as, for instance, heat of fire. In the Buddhacarita? Asvaghosa clearly sets forth the views of the supporters of Svabhavavada : 1 kAla: svabhAvo niyatiryadRcchA bhUtAni yoniH puruSa iti cintyA / saMyoga eSAM na tvAtmabhAvAdAtmApyanIzaH sukhadu:khahetoH // svabhAvameke kavayo vadanti kAlaM tathAnye parimudyamAnAH / devasyaiSa mahimA tu loke yenedaM bhrAmyate brahmacakram // -Svetasvatara I. 2, VI. 1 2 svabhAvo nAma padArthAnAM pratiniyatA zaktiH / agnerISNyamiva / agneryathA yoSNamapAM dravatvaM tadvatpravRttI prakRti vadanti / kecitsvabhAvAditi varNayanti zubhAzubhaM caiva bhavAbhavI ca / svAbhAvikaM sarvamidaM ca yasmAdato'pi mogho bhavati prayatnaH / /

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SVABHAVAVADA (NATURALISM) : A STUDY : 11 "...... They teach that there is an essential force of nature at work in the continuance of activity, like the essential heat of fire and the essential liquidity of water. Some explain that good and evil and existence and non-existence originate by natural development (Svabhava); and since all this world originates by natural development, again therefore effort is vain. That the action of each sense is limited to its own class of object, that the qualities of being agreeable or disagreeable is to be found in the objects of the senses, and that we are affected by old age and afflictions, in all that what room is there for effort? Is it not purely a natural development? The oblation devouring fire is stilled by water, and the flames cause water to dry up. The elements, separate by nature, group themselves together into bodies and, coalescing, constitute the world. That, when the individual enters the womb, he develops hands, feet, belly, back and head, and that his soul unites with that body, all this the doctors of this school attribute to natural development. Who fashions the sharpness of the thorn or the varied nature of beast and bird ? All this takes place by natural development. There is no such thing in this respect as action of our own will, a fortiori no possibility of effort."4 In the Nyayasutral Gautama states by way of Purvapaksa that things originate without any cause like the sharpness of thorns. Vatsyayana, in his commentary to the Nyayasutra, explains the sutra by adding a few examples. In the Mathara-vrttis to the Samkhya-karika (v. 61), along with yadindriyANAM niyataH pracAraH priyApriyatvaM viSayeSu caiva / saMyujyate yajarayAtibhizca kastatra yatno nanu sa svabhAvaH / / adbhirhatAzaH zamamabhyupati tejAMsi cApo gamayanti zoSam / bhinnAni bhUtAni zarIrasaMsthAnyaikyaM ca gatvA jagadudvahanti / / yatpANipAdodarapRSThamUndhI nirvartate garbhagatasya bhAvaH / yadAtmanastasya ca tena yoga: svAbhAvikaM tatkathayanti tajjJAH / / kaH kaNTakasya prakaroti takSNyaM vicitrabhAvaM mRgapakSiNAM vA / svabhAvataH sarvamidaM pravRttaM na kAmakAro'sti kutaH prayatnaH // -Buddhacarita IX. 57 (b)-62 4 Translation by E. H. Johnston, Calcutta, 1936 5 animittato bhAvotpattiH kaNTakateNyAdidarzanAt / animittA zarIrAdyutpattiH / kasmAt / kaNTakataikSNyAdidarzanAt / yathA kaNTakasya tekSNyam , parvatadhAtUnAM citratA, grAvNAM zlakSNatA, ninimittaM copAdAnavacca dRSTaM tathA zarIrAdisargo'pIti / -Nyayasutra-Bhasya IV. 1. 22 6 apare svabhAvamAhuH / svabhAvaH kAraNamiti / tathA hi yena zukkIkRtA haMsAH zukAzca haritIkRtAH /

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12 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME isvara and Kala, Svabhava is mentioned as the cause of the world, of course, from others' point of view and dismissed as non-existent. In his commentary to the Samkhya-karika (v. 61) Gaudapada? writes: "Others say, Svabhava is cause of the world : By what (or whom) the swan is created white, the peacock of many colours?"; that is, they are so naturally . . . for Pradhana, from its universal creative power, is the cause of even Kala (time); even Svabhava merges into it; and, therefore, neither Kala nor Svabhava is cause. Praksti (= Pradhana) alone, therefore, is cause. Thus according to Gaudapada Svabhava merges into the all-embracing cause called PrakTti. In the commentarys to Brhatsamhita. (Bhatta) Utpala writes : The world with its variety originates and gets destroyed through Svabhava alone and none else. They (Svabhavavadins) declare: "What fashions the sharpness of thorns, and the varied nature of beasts and birds, the sweetness of sugar-cane and the bitter taste of nimba ? All this comes about by Svabhava." It may be noted, in passing, that this verse bears close resemblance to Asvaghosa's verse cited above. In the Sarva-Siddhanta-Sangraha' Sankaracarya briefly states the doctrine of Svabhava thus: mayUrAzcitritA yena sa no vRttiM vidhAsyati // ...svabhAvo nAma na kazcitpadArtho'sti yataH prajAnAmutpattisaGgatiH syAt tasmAdyo brUte svabhAvaH kAraNamiti tanmithyA / --Mathara-Vrtti to Sk. 61 7 apare svabhAvakAraNikAM avte| kena zuklIkRtA haMsA mayUrAH kena citritAH / svabhAvenaiveti / ......kAlasyApi pradhAnameva kAraNam / svabhAvo'pyatraiva liinH| tasmAt kAlo na kAraNaM nApi svabhAva iti / tasmAt prakRtireva kAraNaM na prakRteH kAraNAntaramastIti / -Gaudapadabhasya to Samkhyakarika 61 8 apare anye lokAyatikAH svabhAvaM jagataH kAraNamAhuH / svabhAvAdeva jagadvicitramutpadyate svabhAvato vilayaM yAti / tathA ca tadvAkyam / kaH kaNTakAnAM prakaroti taikSNyaM vicitrabhAvaM mRgapakSiNAM ca / mAdhuryamikSoH kaTutAM ca nimbe svabhAvata: sarvamidaM pravRttam // -Bhattotpala's Commentary to Brhatsamhita. I. 7 9 na kalpyo sukhaduHkhAbhyAM dharmAdhauM parairiha / svabhAvena sukhI duHkhI jano'nyannaiva kAraNam // zikhinazcitrayet ko vA kokilAn kaH prakUjayet / svabhAvavyatirekeNa vidyate nAtra kAraNam / / -Sarvasiddhantasangraha II. 4-5

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SVABHAVAVADA (NATURALISM) : A STUDY : 13 "In consequence of the existence of pleasure and pain, merit and demerit should not be here in this connection) postulated by others. A man feels pleasure or pain by nature and there is no other cause for it. Who colours wonderfully the peacocks, or who makes the cuckoos coo so well ? There is in respect of these things no cause other than nature." In his commentary10 to the Visesavasyakabhasya Maladhari Hemacandra quotes three verses giving the views of Svabhavavadins. "The supporters of the doctrine of Svabhava (nature, inner nature, natural development) teach that all things originate without any cause. They do not regard even 'Sva' (own, itself) as cause. What makes the varied nature of lotuses and of thorns and the like? What has fashioned the variegated plumage of peacocks ? Whatever is found in this world is all without cause and due to mere accident. Like the sharpness of thorns human happiness and grief come about by Svabhava only." In the course of his discussion about the Svabhavavada (Introduction to Ganadharavada) Malvania quotes two versesll on Svabhavavada as well-known. "It is due to the all-controlling nature (Svabhava) that some things are ever-existing, some others ever non-existing and still some others varied in nature. Fire is hot, water is cool, wind is neither hot nor cool 10 de afarista H1919 Font quela svabhAvavAdibhiste hi nAhuH svamapi kAraNam // rAjIvakaNTakAdInAM vaicitryaM kaH karoti hi / mayUracandrikAdirvA vicitraH kena nirmitaH // kAdAcitkaM yadanAsti niHzeSaM tadahetukam / yathA kaNTakataikSNyAdi tathA caite sukhAdayaH / / -Maladhari Hemacandra's Commentary to Ganadharavada II, v. 1963 Note: The text reads' Frarating laat fafaz:'. Shri Malvania renders it as "The plumage of the peacock is variegated and the moonlight is bright white ..." (Ganadharavada (p. 45) : Gujarat Vidyasabha, Ahmedabad). It appears to me, however, that the text originally must have read Hrastarlal fara: '--which reading eminently suits the context. 11 f ar ara facilitaran vicitrAH kecidityatra tatsvabhAvo niyAmakaH // agniruSNo jalaM zItaM samasparzastathAnila: / kenedaM citritaM tasmAt svabhAvAt tadyavasthitiH // -Quoted by Shri Malvania in his Introduction to Ganadharavada, p. 114

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14 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (by itself). By whom or what came this variety ? We, therefore, conclude that all this came about by nature (Svabhava)." ___Of these two verses, the second is quoted in the Sarva-darsanasangraha?, which briefly puts the case of Svabhavavadins thus : But an opponent will say, if you thus do not allow adssta, the various phenomena of the world become destitute of any cause. But we cannot accept this objection as valid, since these phenomena can all be produced spontaneously from the inherent nature of things. Thus it has been said : "The fire is hot, the water cold, refreshing cool the breeze of morn; By whom came this variety ? From their own nature was it born." In his commentary13 to Uttaradhyayana Sutra (Agadadatta, v. 75) Devendra gives a verse in Prakrit hinting at Svabhavavada: "Who paints the peacock? Who provides the swans with their graceful gait? Who infuses the sweet fragrance in lotuses and modesty in those who are born in noble families ?" In his commentary to Saddarsana-Samuccayal4 (st. 50), as mentioned by Hiriyanna, Gunaratna quotes as the view of others.: "Others again say: All the variety of this world is explained by its own nature and there is no karma whatever serving as its basis." In the Mahabharatals (santi-parvan) there are many references to 12 nanvadRSTAniSTau jagadvaicitryamAkasmikaM syAditi cet-na tad bhadram / svabhAvAdeva tadupapatteH / taduktam agniruSNo jalaM zItaM samasparzastathAnilaH / / kenedaM citritaM tasmAtsvabhAvAttadvyavasthitiH // ---Sarvadarsanasangraha, Carvakadarsanam, p. 13 (BORI, Poona, ed. 1951) 13 ko cittei bhaUraM gaI ca ko kuNai rAyahaMsANaM / / ko kuvalayANa gaMdhaM viNayaM ca kulappasUyANaM / / -Sukhabodha-Laghuvitti to Uttaradhyayana Sutra _ (Agadadatta, v. 75) 14 anye punarAhu:--mUlataH kamaiva nAsti, svabhAvasiddhaH sarvo'pyayaM jagatprapaJca iti / -Gunaratna's Commentary to Saddarsanasamuccaya (st. 50) 15 hantIti manyate kazcinna hantItyapi cAparaH / svabhAvatastu niyatI bhUtAnAM prabhavApyayI // pazya prahlAda bhUtAnAmutpattimanimittataH / hAsaM vRddhi vinAzaM ca na prahRSye na ca vyathe // svabhAvAdeva saMdRzyA vartamAnAH pravRttayaH / svabhAvaniratAH sarvAH parituSyenna kenacit //

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SVABHAVAVADA (NATURALISM): A STUDY : 15 the doctrine of Svabhava; this passage declares how everything comes about by Svabhava. The next passages is from the same source describing the ultimate source of material universe. The Mahabharata records evidence, as pointed out by Hiriyannal7 in support of two opposite views--the ultimate source was conceived as one and as many. The Bhagavadgitals contains many passages which lend support to the doctrine of Svabhava. It is pressed into service to explain the difference in the duties of different castes; and its irresistible force is brought to the forefront now and again to persuade Arjuna to fight. In the commentary19 to the Sutrakstanga silanka puts forward by svabhAvabhAvino bhAvAn sarvAneveha nizcayAt / budhyamAnasya darpo vA mAno vA kiM kariSyati // svabhAvAlabhate prazAM zAntimati svabhAvataH / svabhAvAdeva tatsarvaM yatkiJcidanupazyasi // -Mbh, Santiparvan : 25. 16 ; 179. 10-11 ; 222. 27, 35 16 pRthivI jyotirAkAzamApo vAyuzca paJcamaH / etayonIni bhUtAni tatra kA paridevanA / / kecitpuruSakAraM tu prAhuH karmasu mAnavAH / devamityapare viprAH svabhAvaM bhUtacintakAH // vikArAneva yo veda na veda prakRti parAm / tasya stambho bhavedvAlyAnnAsti stambho'nupazyataH / / prakRtI ca vikAre ca na me prItirna ca dviSe / dveSTAraM ca na pazyAmi yo mAmadya mamAyate / / -Mbh, Santiparvan : 224. 17; 232. 19; 222. 26, 31 17 Outlines of Indian Philosophy, p. 105. ...............prakRtistvAM niyokSyati // svabhAvajena kaunteya nibaddhaH svena karmaNA / kartuM necchasi yanmohAt kariSyasyavazo'pi tat // kAryate hyavazaH karma sarvaH prakRtijairguNaiH / / prakRti yAnti bhUtAni............ // .......svabhAvastu pravartate // -Bhagavadgita XVIII. 59-60 ; III. 5; III. 33, V. 14 19 tatkathametajjagadvaicitryaM ghaTate ?, tadyathA-kazcidIzvaro'paro daridro'nyaH subhago'paro durbhagaH sukhI du:khI surUpo mandarUpo vyAdhito nIrogIti, evaMprakArA ca vicitratA kiMnibandhaneti ?, atrocyate, svabhAvAt , tathA hikutracicchilAzakale pratimArUpaM niSpAdyate, tacca kuGkamAgarucamdanAdivilepanAnabhogamanabhavati dhUpAdyAmodaM ca, .

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16 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME way of the view of others the Svabhavavada to explain the variety of the world; the doctrine of Svabhava obviously dismisses the conception of punya and papa for explaining the variety of the universe. In his commentary20 on Prasnavyakarana Sutra Jnanavimala thus writes about this doctrine: "Some believe that the universe was produced by Svabhava and that everything comes about by Svabhava only." In his commentary21 to Prasnavyakarana Sutra Abhayadeva attempts to distinguish between YadTccha and Svabhava. He explains all kinds of happiness and grief and every event taking place in the world as due to accident, mere chance. Svabhava he explains, after Asvaghosa, as 'natural development'. Siddhasena Divakaraa, Haribhadra and later Jaina writers hold that anyasmistu pASANakhaNDe pAdakSAlanAdi kriyate, na ca tayoH pASANakhaNDayoH zubhAzubhe staH, yadudayAtsa tAdRgvidhAvasthAvizeSa ityevaM svabhAvAjjagadvaicitryaM / tathA coktam-- kaNTakasya ca tIkSNatvaM, mayUrasya vicitrtaa| varNAzca tAmracUDAnAM, svabhAvena bhavanti hi / / -Silanka's Commentary to Sutrakrtanga, folio 21 (a) 20 kecit svabhAvabhAvitaM jagad manyante svabhAvanaiva sarvaH sNpdyte|| -Jnanavimala to Prasnavyakarana 7, fol. 29 (cited by Basham) kaH kaNTakAnAM prakaroti taikSaNyaM vicitrabhAvaM mRgapakSiNAM ca / svabhAvataH sarvamidaM pravRttaM na kAmacAro'sti kutaH prayatnaH // -Gunaratna : Tarkarahasyadipika to Saddarsana Samuccaya, p. 13 (cited by Basham) Note : Referring to this verse Basham writes : "Gunaratna quotes a verse which he attributes to the supporters of this doctrine." It will be evident by comparing this verse with Asvaghosa's (which is already quoted above) that barring slightly variant readings, it is the same as that of Asvaghosa. 21 anbhisNdhipuurvikaarthpraaptirydRcchaa| atarkitopasthitameva sarva citraM janAnAM sukhaduHkha jAtam / kAkasya tAlena yathAbhighAto na buddhipUrvo'tra vRthAbhimAnaH / / satyaM pizAcAH sma bane vasAmo bherI karApi na spRzAmaH / yadRcchayA siddhayati lokayAtrA bherI pizAcA: paritADayanti / / svabhAvaH punarvastuta: svata eva tathA pariNatibhAvaH / "kaH kaNTakAnAm" ityAdi / -Abhayadeva's Commentary to Prasnavyakarana Sutra 22 kAla sahAva NiyaI putvakamma purisakAraNegaMtA / micchattaM taM ceva u samAsao huMti sammattaM / /

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SVABHAVAVADA (NATURALISM): A STUDY : 17 to look upon any one out of many causes-Kala, Svabhava, Niyati, Karma, Purusakaramas the only cause is wrong and to regard them all as causes ---some more important and some less important-is the right belief. Before we take up passages refuting Svabhavavada, it is necessary to examine the interrelation between Yadrcchavada and Svabhavavada, and Ajivikism. YADRCCHAVADA AND SVABHAVAVADA Yadycchavada is also known as Ahetu-Animitta-Akasmat-vada. Gautama and Vatsyayana [Nyayasutra (iv. 1.22) Bhasya] give 'Kantakataiksnya' as an illustration of Animittavada. This illustration has been highly popular with, and very often cited by Svabhavavadins in support of their doctrine. We would not, therefore, be wrong if we drew the conclusion that Gautama and Vatsyayana regarded these two doctrines as identical. Svetasvatara, Siddhasena Haribhadra and many later writers mention these two doctrines separately and distinguish between them. Hiriyanna23 very well brings out the distinction between these two doctrines : "While the one maintains that the world is a chaos and ascribes whatever order is seen in it to mere chance, the other recognizes that things are as their nature makes them'. While the former denies causation altogether, the latter acknowledges its universality, but only traces all changes to the thing itself to which they belong." SVABHAVAVADA: A SMALL SUB-SECT OF AJIVIKISM ? In the course of his exposition of the doctrine of Niyati Basham writes : "... Hence it appears that the Svabhavavadins agreed with the Niyativadins on the futility of human efforts. They were classed in the group of Akriyavadins, or those who did not believe in the utility or effectiveness of purusakara. It would seem that the Svabhavavadin differed from the Niyativadin in that, while the latter views the individual as determined by forces exterior to himself, for the former he was rigidly selfdetermined by his own somatic and psychic nature. These ideas have much in common and we suggest therefore that Svabhavavada was a small sub-sect of Ajivikism."21 Granting that "these ideas have much in common" we cannot persuade ourselves to accept Basham's suggestion for from all the references to Svabhavavada culled in this paper we find 23 Outlines of Indian Philosophy, pp. 103-104. 24 History and Doctrines of the Ajivikas, p. 226. GJ.V. 2

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18: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME that it was more intimately connected with Materialism or Carvakadarsana. It is much more allied to Carvakadarsana in as much as both deny a transmigrating soul, whereas Niyativada believes in an immortal soul. Further, in view of the fact that the Ajivikas ultimately merged with the Jainas-which indicates that they had much in common--it would be more proper to regard Svabhavavada as part and parcel of Materialism as has been done by tradition. SVABHAVAVADA DIALECTIC That the Svabhavavada must once have been well-known is evident from the numerous references to it in Sanskrit and Prakrit literature. No detailed exposition of it is to be found in any single treatise. The only account of this doctrine we have is in the prima facie argument or view (Purvapaksa) given in the works of its opponents for purposes of refutation. It is not improbable that the opponents ascribed to the Svabhavavadin's arguments which were easy of refutation. So we have to be cautious in judging the Svabhavavadin's powers of logical argument and dialectic skill. In the course of his commentary to Ganadharavada Jinabhadragani more than once mentions Svabhavavada and refutes it. He explains the variety of the world on the basis of the doctrine of Karman, which is 25 hojja sahAvo vatyuM nikkAraNayA va vatthudhammo vA / jaha vatthu Natthi tao'NuvaDIo khapuSkaM va // accatamaNuvaddho vi ahatao asthi natthi kiM kammaM / heU va tadatthite jo NaNu kammarasa vi sa eva // kammassa vAbhi hANaM hojja sahAvo tti hou ko doso / nicaM va so sabhAvo sariso etthaM ca ko heU // so muso'muso vA jara muto to na savvA sariso pariNAmao payaM piva na dehaheU jai amutto // uvagaraNAbhAvAo na ya havai suhamma so amutto vi / kaNNarasa mutimA susaMvittAdiva // adAkAraNa thiya sabhAo toci sarisayA karato / vimakAraNa na bhave visariyA kiM va vicchitI // adana sahAna dhammo vagsa na so ni sarisa nicaM / uppAyaribhaMgA citA vapanAyA || kammarasa va pariNAmo yuddamma dhammo samAyas / deU citto jagamo choda sadAyo ti ko doso // -Ganadharavada vv. 1786-1793

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SVABHAVAVADA (NATURALISM): A STUDY : 19 the cornerstone of Jaina philosophy. Silanka26, writing as an advocate of Niyativada, disposes of Svabhavavada as follows: "Moreover the causing of joy and sorrow cannot be ascribed to inherent character (svabhava). For is this different from a man or the same as he ? If it is different it is not capable of causing the joy and sorrow which befall him, on account of that difference. Nor (if it is) the same (as he). For, if it were, it would be a mere man. "If happiness is experienced as a result of human activity there should be no difference in the reward (of equal exertion), nor should there be lack of reward when equal effort is exerted, whether by servants, merchants or peasants, etc. Yet it is often seen that even when no means of livelihood such as service, etc., is followed, rich reward is obtained. So nothing is achieved by human effort." In the Nyayamanjari27 Jayanta dismisses this doctrine of Svabhava and establishes that of Adrsta or Karman. Jayanta is well-known as a superb writer on Nyaya. This great logician, however, succumbs to the temptation of ascribing a manifestly weak argument to the Svabhavavadin, who argues : "The opening of a babe's mouth is spontaneous--natural like the blooming of a lotus bud." The Siddhantin refutes it saying that the blooming of a lotus bud is caused by the touch of the sun's rays and that it is not spontaneous or natural. That the doctrine of Svabhava once enjoyed immense popularity and exerted great influence on the thinkers of those times would be patent to any impartial student of the Bhagavadgita. The Gita takes recourse to the doctrine of Svabhava in defending the difference in respective func 26 tathA svabhAvasyApi sukhaduHkhAdikartRtvAnupapattiH / yato'sau svabhAvaH puruSAd bhinno'bhinno vaa| yadi bhinno na puruSAzrite sukhaduHkhe kartumalaM tasmAd bhinnatvAditi / nApyabhinnaH / abhede puruSa eva syAt tasya cAkartRtvamuktameva / -Silanka's Commentary to Sutrakytanga : folio 31 (a) yadi puruSakArakRtaM sukhAyanubhUyeta tataH sevakavaNikarSakAdInAM samAne puruSakAre sati phalaprAptisadRzyaM phalAprAptizca na bhavet / kasyacittu sevAdivyApArAbhAve'pi viziSTaphalAvAptidRzyata iti / ato na puruSakArAt kinycidaasaadyte| -Silanka's Commentary to Sutrakrtanga: folios 30 (b) and 31 (a) 27 nana kamalamukulavikAsAdivatsvAbhAvikameva zizormukhavikAzAdikArya syAt, svAbhAvikaM nAma kimucyate fefe funeafara a I........ na cAyaskAntadRSTAntasamAzrayeNa svAbhAvikametadvAlakasya kucakalazanimittopasarpaNamiti vaktumucitamanantarameva nirastatvAt / -Jayanta's Nyayamanjari (Prameyaprakarana, pp. 41-42, KSS ed. 1936)

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20 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME tions of the four different castes and emphatically asserts the inherent and irresistible strength of Svabhava. The Jainas, no doubt, criticize this doctrine of Svabhava in their works of philosophical nature but this criticism applies to it only when Svabhava is presented as the only cause of the variety of the world. The Jainas find a place for this doctrine under their wide umbrella of Syadvada or Anekanta. In this connection we draw the attention of the readers to Silanka's passage26, quoted below, accepting Svabhavavada. ADDENDUM In the Tattvasangraha of santaraksita with the Panjika (commentary) of Kamalasila who flourished in the first half of the eighth century A.D. we find an exposition as well as refutation of Svabhavika-jagadvada (vv. 110-127). The three verses embodying the Svabhavavada, which are quoted by Maladhari Hemacandra, very well compare with the corresponding verses in the Tattvasangraha (vv. 110-112) and it is not unlikely that they are derived from a common source. Hemacandra reads 'Rajivakantakadinam' in place of 'Rajavakesaradinam'; 'Mayuracandrikadir va' in place of 'Mayuracandrakadir vait is gratifying that the emendation in the text of Hemacandra that I have suggested above is supported by the text of the Tattvasangraha; the third verse although identical in thoughtcontent differs in its expression. The verse of Hemacandra is already cited above. Here I quote the verse from the Tattvasangraha : yathaiva kaNTakAdInAM taiSNyAdikamahetukam / kAdAcitkatayA tadvaddaHkhAdInAmahetutA // The refutation of Svabhavika-jagadvada by santaraksita may very briefly be summarised thus: "The filaments of the lotus, etc., have the seed, mud and water as the causes. Why then should we search for other causes which are not to be found ? If all things come about by 'svabhava'why should they appear at particular times and particular places only? It is clear, therefore, that they have particular causes for their origin and development. The Svabhavika-jagadvada thus stands refuted by Pratyaksa-pramana itself." 28 atfest Faratsfarcuredariant ara, at 119: 9719 let par da Rotaruit hucalar: mUrtatvAmUrtatvAnAM svasvarUpAnuvidhAnAt tathA dharmAdharmAkAzakAlAdInAM ca gatisthityavagAhaparatvAdisvarUpAdAnAditi, tathA coktam-kaH kaNTakAnAmityAdi / -silanka's Commentary to Sutrakrtanga, folio 213 (b)

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The Logical and the Historical Significance of the Jaina Philosophical Tradition K. K. DIXIT PROPER evaluation of the Jaina philosophical tradition necessarily requires a proper evaluation of the Indian philosophical tradition as a whole. For even a reader who has a fairly correct idea of what the Jainas have to say by way of solving the fundamental philosophical problems might underrate or overrate the Jaina performance in case he happens to be ignorant of or misinformed about the background of this performance. We therefore begin our treatment of the Jaina philosophical tradition with a brief preliminary survey of the Indian philosophical scene of the times when this tradition arose and developed. By philosophy we understand a reasoned and systematic working out of the fundamental nature of what constitutes reality, and as thus understood philosophy is a comparatively late product of India's otherwise hoary history. The material that has come down to us in the form of the Mantra, Brahmana or even the Aranyaka portion of the Vedas has the remotest affinity with a philosophical enquiry, but the Upanisads seem to make a break with the pre-philosophical past. However, even the Upanisadic texts are not of the form of systematic treatises on philosophical problems; for what they do is to narrate stories that inevitably culminate in a dialogue where certain characters discuss

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22 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME -more or less elaborately-some stray problems whose philosophical import is doubtless obvious. The first attempt to systematize the scattered philosophical teachings of the Upanisads was made in the Brahmasutras, but even they do not seem to have influenced in any material fashion the contemporary discussions on philosophy which went on without taking any serious notice of them till at least the time of Sankara, the author of the earliest available commentary on them. In the post-Sankara period there was no doubt a spate of mutually hostile commentaries on the Brahmasutras, but the scholastic atmosphere that was the hall-mark of these commentaries-Sankara's not excluded -was substantially out of tune with the tradition of free philosophical enquiry that had matured in the country by the time Sankara appeared. It is the rise and development of this tradition that constitutes the real subject-matter of a historian of Indian philosophy; and the pre-Sankara phase of this tradition requires to be specially studied with a view to correctly assessing the influence exerted on it by Sankara and his fellow-commentators (all hostile to him as to each other) of the Brahmasutras. The Indian tradition of a systematic treatment of philosophical problems can be broadly subdivided into two groups. One of these repudiates the reality of empirical phenomena and banks on some sort of mystic intuition as the sole means of comprehending that transempirical reality which is here declared to be real' reality (in contrast to illusory'reality that empirical phenomena allegedly are). The other group ascribes sole reality to empirical phenomena and seeks to comprehend their nature through rational means. For the sake of convenience the former group might be designated 'transcendentalist', the latter empiricist'. Now the earliest powerful spokesmen of the transcendentalist trend are the authors adhering to the Buddhist schools of Sunyavada and Vijnanavada while the earliest powerful spokesmen of the empiricist trend are those adhering to the Brahmanical schools of Nyaya, Vaisesika and Mimamsa; (the Brahmanical school of Sankhya, too, was empiricist and had a considerable past, but in the period of systematic treatises-a period which alone matters from the point of view of our present interest-it wielded meagre influence and was extremely vulnerable to criticism).1 An empiricist trend within the Buddhist camp took some time to crystallize. For it 1 From the point of view of our present interest it is also an immater ial consideration whether the Sankhya as well as the Nyaya and Vaisesika schools had not a 'pre-Brahmanical' past.

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SIGNIFICANCE OF THE JAINA PHILOSOPHICAL TRADITION :: 23 is the followers and commentators of Dinnaga and Dharmakirti in their capacity as Sautrantika thinkers who constitute the really powerful school of Buddhist empiricism, a school whose pre-history may be traced in the philosophical investigations of the Vaibhasika and Sautrantika authors of the pre-Dinnaga period. That the followers of Dinnaga and Dharmakirti--and the Masters themselves-have to be studied sometimes in their capacity as Sautrantikas and sometimes in their capacity as Vijnanavadins is an anomaly but is the only course open to the student who wishes to appreciate the most valuable of the Buddhist contributions to the empiricist tradition of Indian philosophy. It was in this background that the Jaina entered the arena of philosophical enquiry. His affiliation to the empiricist tradition was unequivocal but his mode of arguing his case had two conspicuous tendencies. In the first place, he thought fit to cross swords with the transcendentalist whose teaching it was that 'real' reality can in no way be described through words (and that because it can in no way be comprehended through rational means). Secondly, he made it a fashion to demonstrate how a particular philosophical thesis of his was a synthesis of two onesided theses whose respective defects it managed to avoid precisely because it was such a synthesis. The first of these tendencies was responsible for the emergence of the doctrine of seven forms of assertion', the second left its indelible imprint on the stand taken by the Jaina on those burning questions which the empiricist philosophers of the time were seeking to answer in their respective manners. We consider these tendencies one by one. A favourite-and basic-argument of the transcendentalist was that each and every empirical phenomenon is illusory because it is in the very nature of things impossible to describe it either as existent or as non-existent or as both existent and non-existent or as neither existent nor non-existent. In essence the argument was that an empirical phenomenon is indescribable (and hence illusory) because there is no knowing what this phenomenon is or what it is not. And a simple answer to this argument would have been that an empirical phenomenon is describable because we can know both what this phenomenon is and what it is not. But as a matter of historical fact the argument in question was considered by the general run of Indian empiricists to be too fantastic to merit an answer. To the Jaina this attitude of his empiricist colleagues seemed to betray complacence and he on his part came out with an elaborate rejoinder against the

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24 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME transcendentalist. Thus he maintained that an empirical phenomenon is describable in as many as seven ways, viz. (i) by pointing out what this phenomenon is, (ii) by pointing out what this phenomenon is not, (iii) by first pointing out what this phenomenon is and then what it is not, (iv) by confessing that it is impossible to simultaneously point out what this phenomenon is and what it is not, (v) by combining the attitudes (i) and (iv), (vi) by combining the attitudes (ii) and (iv), (vii) by combining the attitudes (iii) and (iv). In this rejoinder of the Jaina against the transcendentalist three points are noteworthy. (1) The Jaina suggests that to point out what an empirical phenomenon is is to describe it as existent while to point out what it is not is to describe it as non-existent. Thus the transcendentalist who asserts that an empirical phenomenon is describable neither as existent nor as non-existent is sought to be silenced by the Jaina by his counter-assertion that it is describable both as existent and as nonexistent. An impartial reader should nevertheless take note of the rather technical character of the Jaina's description of an empirical phenomenon as non-existent (i. e. of his description of it not as something utterly non-existent but as something different from the phenomena that are other than itself). (2) The Jaina suggests that to confess that it is impossible to simultaneously point out both what an empirical phenomenon is and what it is not is to confess that this phenomenon is indescribable. This might seem to be a concession in favour of the transcendentalist who is of the view that an empirical phenomenon is utterly indescribable. As a matter of fact, the Jaina simply demonstrates to the transcendentalist the only possible sense in which (according to the Jaina) an empirical phenomenon can be said to be indescribable; he is thus forestalling the latter's extravagant claims in this connection. In any case, an impartial reader should take due note of the rather technical character of the Jaina's admission that an empirical phenomenon is also somehow indescribable.2 2 There is also another sense-not intended in present context-in which the Jaina admits an empirical phenomenon. to be indescrib

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SIGNIFICANCE OF THE JAINA PHILOSOPHICAL TRADITION : 25 (3) The crux of the Jaina's position lies in asserting that an empirical phenomenon is describable both as what it is and as what it is not, an assertion which was fully endorsed by the entire camp of empiricists who stood opposed to the transcendentalist's rank nihilism and obscurantism. The Jaina's intervention in the inner-family discussions of the Indian empiricists had its own peculiar features. These empiricists were one in maintaining that the empirical world of physical and psychological phenomena is a veritable reality and is guided in its operations by the law of causal determination; but the different schools offered different accounts of the physical and psychological phenomena and of the functioning of the law of causation. The most acute-and the most fruitful-controversies were those in which the Nyaya-Vaisesika authors on the one hand and their Buddhist counterparts on the other were parties; (however, certain typical Sankhya and Mimamsa positions, too, made for a better clinching of the philosophical issues). The most important questions that gave rise to controversy were the following: (i) What is permanent and what is transient in the world of empirical phenomena ? (ii) What relation holds between a composite body and its component parts ? (iii) What is the nature of the substance-attribute relationship? (iv) What is the nature of the universal-as contrasted to the particular-features exhibited by empirical phenomena? The Nyaya-Vaisesika authors were chiefly concerned with the last three questions, the Buddhist authors with the first; but as the controversy developed the two schools defined their respective positions on each of the four questions as follows: (i) On the question of permanence and transience the Buddhists maintained that the entire world of empirical phenomena is ever-changing, so that nothing lasts for more than one moment. As against this, the Nyaya-Vaisesikas maintained that certain phenomena are no doubt momentary but that certain others last for a limited period of time while still others last for ever. able. That sense is conveyed when it is argued that an empirical phenomenon is indescribable because it is possessed of an infinite number of attributes which it is impossible to describe in their entirety.

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26 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (ii) On the question of the relation between a composite body and its component parts the Nyaya-Vaisesikas maintained that a composite body is an independent entity over and above its component parts (the former residing in the latter by the relation technically called Samavaya). As against this, the Buddhists maintained that it is merely conventional to say that there exists a composite body over and above its component parts. (iii) On the question of the substance-attribute relationship the Nyaya-Vaisesikas maintained that substances constitute one group of real entities while their attributes (further subdivided into qualities and actions and residing in substances by Samavaya relation) constitute another such group. As against this, the Buddhists maintained that it is merely conventional to say that the empirical world consists of substances on the one hand and their attributes on the other. (iv) On the question of the universal features exhibited by empirical phenomena the Nyaya-Vaisesikas maintained that a universal feature is an independent (and external) entity that resides (by Samavaya relation) in the substances, qualities or actions of which it is the universal feature. As against this, the Buddhists maintained that it is merely conventional to say that certain empirical phenomena share a universal feature in common. Now the Jaina found something unsatisfactory-and also something satisfactory-about both the Nyaya-Vaisesika and the Buddhist positions on the four questions here posed. Hence in each case he sought to offer a new position which was in his eyes free from the defects vitiating the two rival positions that had held the field. The following is how he proceeded : (i) On the question of permanence and transience he maintained that each and every empirical phenomenon is permanent so far as its substance-aspect is concerned while it is momentary so far as its mode-aspect is concerned. (ii) On the question of the relation between a composite body and its component parts he maintained that to assume the form of a composite body is nothing but the assuming of a particular mode by the concerned component parts in their capacity as substances. (iii) On the question of the substance-attribute relationship he maintained that a substance represents the substance-aspect of an

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SIGNIFICANCE OF THE JAINA PHILOSOPHICAL TRADITION 27 empirical phenomenon while its attributes represent the quality-aspect or the mode-aspect of the phenomenon.3 (iv) On the question of the universal features exhibited by the empirical phenomena he maintained that a universal feature exhibited by certain particular phenomena is but the mode called 'similarity in relation to the rest'which each of these phenomena comes to assume. On closer perusal it turns out that differences among the Indian empiricists on the question of permanence and transience were more vital than those of the remaining three questions. As a matter of fact, we can even say that on these last three questions the positions adopted by the Nyaya-Vaisesika, the Buddhist and the Jaina schools were vitally the same and can easily be translated from one into another. The reason for it is that all these three schools seek to explain away-as was done by their transcendentalist rivals-the phenomenon of the composition of a body out of certain component parts, the phenomenon of a particular feature belonging to a particular entity, and the phenomenon of a universal feature belonging to a group of entities; in each of these cases the Nyaya-Vaisesika offered his explanation by speaking of these or those independent entities of the form of substance, qualities, actions, universals) entering into the relationship technically called Samavaya, the Buddhist by speaking of these or those conventional usages being adopted, and the Jaina by speaking of these or those substances assuming different modes. There is no denying that each of these modes of speech has its own advantages and disadvantages, but to think-as will be done by the partisans of the three schools in question that the idea sought to be onveyed by these different modes of speech is not the same seemc fraught with confusion... Then we come to the Nyaya-Vaisesika, the Buddhist and the Jaina treatments of the question of permanence and transience. On 3 Certain Jaina scholars make no distinction between quality-aspect and mode-aspect; on their view it can be said that the attributes of a substance represent the mode-aspect of an empirical phenomenon. On the other hand, those Jaina scholars who distinguish between quality-aspect and mode-aspect tend to identify quality-aspect with substance-aspect, but since an express distinction between substance-aspect and quality-aspect is necessary to their position the above formulation may be taken to represent this very position. ect and mude-since act is necessary

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28 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME this question the difference between the Nyaya-Vaisesika and the Buddhist stands was considerable, that between the Buddhist and the Jaina stands virtually non-existent. The following considerations should elucidate the point. The Nyaya-Vaisesika ever remained unconvinced of the correctness of the thesis that it is impossible for an entity while occupying a particular place and time to exhibit precisely the same totality of features as it does while occupying another place and time. But it was this very thesis that the Jaina endorsed when he maintained that two empirical phenomena must differ in respect of their mode-aspect even if they happen to be identical in respect of their substance-aspect. The Buddhist virtually agreed with the Jaina criticism of the NyayaVaisesika stand, but since he made no distinction between the substance-aspect and the mode-aspect of an empirical phenomenon he expressed this agreement of his by simply maintaining that any two empirical phenomena must differ from each other. Thus the Jaina agrees with the Nyaya-Vaisesika insofar as both find it possible to somehow distinguish between an entity and its features, while he agrees with the Buddhist insofar as both hold that the totality of features exhibited at one place and time can never be precisely the same as that exhibited at another. Deeper probe, however, reveals that the Jaina's present agreement with the Nyaya-Vaisesika is well-nigh nominal while his present agreement with the Buddhist is extremely substantial. For to distinguish or not to distinguish between an entity and its features is almost a matter of adopting or not adopting a particular mode of speech; but to hold or not to hold that the totality of features exhibited at one place and time can never be precisely the same as that exhibited at another is a matter of adopting or not adopting a philosophical thesis of great importance. It is therefore a point of material significance that the Buddhist and the Jaina agree in maintaining that the world of empirical phenomena is ever-changing, a thesis in opposition to which the Nyaya-Vaisesika maintains that the world of empirical phenomena is not ever-changing but that it just exhibits change here and there, now and then. On the other hand, it is a point of mere formal significance that the Nyaya-Vaisesika and the Jaina agree in employing a terminology that distinguishes between an entity and its features, a procedure in opposition to which the Buddhist employs a terminology that does not make this distinction. In passing, it should also be noted that the Jaina's closer agreement with the Buddhist than with the Nyaya-Vaisesika on the most

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SIGNIFICANCE OF THE JAINA PHILOSOPHICAL TRADITION : 29 crucial question of permanence and transience leads him to agree more closely with the Buddhist than with the Nyaya-Vaisesika also on the remaining three central questions of philosophical enquiry. However, as has already been pointed out, on these three questions the difference between the Buddhist and the Nyaya-Vaisesika is itself rather meagre.

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Vasudhara-dharani: A Buddhist work in use among the Jainas of Gujarat PADMANABH S. JAINI THE Vasudhara-dharani, also variously termed Vasudhara-stotra and Vasudhara-dharani-kalpa is a short dharani (magic formula) text written in Buddhist Sanskrit. The main part of the text consists of various mantras to be employed in the ritual, but it is set in the framework of a Buddhist sutra which may be summarised as below: "Thus have I heard. Once upon a time the Lord while sojourning in the great city of Kosambi in a grove called Kantaka was preaching the Doctrine in an assembly of 500 monks and a large number of bodhisattvas. At that time there lived in Kosambi a householder by the name of Sucandra. He was a man of tranquil mind, a man of great devotion. He had many sons and daughters and had to support a large number of relatives and servants. He approached the Lord and having saluted him sat in one corner. Seated there he addressed the Lord thus: "May I, Lord, be permitted to ask a question to the Lord who is a Tathagata, an Arhat, a Samyak-sambuddha ?" Thus addressed the Lord said to Sucandra the householder: "You may ask, O householder, whatever you wish, I shall please you by answering your questions". ""Yes, Lord", said Sucandra and asked: "How, O Lord, does a son or a daughter of a good family become rich again once he has

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VASUDHARA-DHARANI : 31 become poor, how is he restored to health having become sick ?" Then the Lord said to Sucandra : "Why do you, O householder, ask a question relating to poverty ?" To his question the householder replied: "I am poor, O Lord, I am impoverished, O Sugata. I have many sons and daughters, many relatives and servants, many people to feed. May the Lord preach me that Discourse (dharma-paryaya) by which the poor may become rich, the sick may become well, endowed with plenty of wealth and corn, gold and silver, pleasing to heart and eyes, may become masters of charity, of great charity. May they become wealthy with pearls and beryls, diamonds and conches, silver and gold, well established with prosperous families, houses, wives, sons and daughters." "Thus asked, the Lord said to Sucandra : "There, O householder, in the long past, in the incalculable ages bygone, appeared in the world a Lord by the name of Vajradharasagaranirghosa, a Tathagata, an Arhat, a Samyak-sambuddha, endowed with wisdom and discipline, knower of the universe, supreme charioteer of men, a great teacher of gods and men, a Buddha. From that Tathagata, O householder, have I heard this dharani called Vasudhara (Shower of Wealth), have learnt and mastered it and have explained it to others. I shall also now teach that dharani to you by the glory of which a son of a good family is not obstructed by human beings or inhuman beings, by yaksas or by pisacas, etc. Whosoever, O householder, a son or a daughter of a good family, memorizes this dharani, writes it down in a book, or even listens to it, and one who worships it having first offered elaborate worship to the Tathagatas, the Arhats and the Samyak-sambuddhas, to him or to her the devatas (the goddess Vasudhara and others), inspired by their devotion to the dispensation (sasana) of the Buddha and the Samgha, will approach in person and cause the rains of wealth and corn, of gold and coins." "Then the Lord uttered the dharani and said: "These, O householder, are the charm-words of this dharani. It should be repeated for six months after worshipping all Tathagatas. That place where this mahavidya (powerful charm) is read becomes sacred. Having worshipped the Tathagatas, Arya-Avalokitesvara (a bodhisattva) and the mantra-devata (i.e., Vasudhara) in an auspicious place or in the chamber of treasure a magic circle should be drawn and the dharani should be repeated thrice. One who thus properly propitiates his house is filled with all kinds of wealth and gold and all his obstructions are removed. Therefore, O householder, learn this Vasudhara-dharani,

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32 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME master it and preach it to others. It will be conducive to your great merit, wealth and well-being." "Then Sucandra the householder having heard this dharani from the Lord, having become pleased and happy, elated fell at the feet of the Lord and said: "I have now learnt this dharani, O Lord, and have grasped it well. I shall now explain it in detail to others also." "Instantaneously, Sucandra the householder's treasury was filled with riches. Then Sucandra departed from the Lord having saluted him and having circumambulated him a hundred-thousand times." "Then the Lord addressed venerable Ananda : "Go you, Ananda go to the residence of Sucandra the householder and see his abode filled with all kinds of wealth." <Page #494
VASUDHARA-DHARANI : 33 and the bodhisattvas and the entire assembly welcomed the preaching of the Lord." In 1961, while on a visit to Ahmedabad, I first came to know of of the Vasudhara-dharani from Muniraja Sri Punyavijayaji. He knew the Buddhist origin of the work and surprised me by the additional information that the work was being used by the (Svetambara) Jaina community in their upasrayas? as a useful text. The Jainas are well known for their liberal attitude towards the use of books originating from their rival schools. Their libraries store them, their acaryas write commentaries on them and even teach them to their disciples in the classical spirit of the Anekantavada. But we know of no other non-Jaina work than the Vasudhara-dharani which was employed in their rituals. Apparently the origins of this work were forgotten. A Buddhist work, like the image of a Buddha, can be very easily confused with a Jaina work. The words like sarvajna, jina, arhat and vitaraga are a common property of both these schools and could be employed to designate their respective teachers, viz., the Buddha and the Tirthankaras. The opening words of greeting in our three MSS., viz., (A) om namah sri jina-sasanaya, (B) om namah sri jinaya, and (C) om namah sri vitaragaya (the only sign of Jainism found in the whole text) were in all probability appended by the Jaina copyists. It is, however, not inconceivable that these, or one of these, might have been an integral part of the original MS, which formed the basis of our MSS. If this conjecture is right then it could be assumed that the Jainas were misled by this into believing it to be a genuine Jaina work. But sooner or later some learned Jaina as he read through the text and found the teacher referred to as the Buddha would have certainly detected the error. The probability thus remains that the work was introduced in the ritual, with the full knowledge of its alien origin, to assist the Jaina layman in propitiating the goddess of wealth on the New-year day. Once introduced to achieve this purely secular end the Jaina layman conveniently ignored its origin. The Jaina yatis3 who must have recited this stotra also seem to have apparently participated in the ritual with the same spirit, viz., that of assisting the upasaka in his worldly 2 A place where the Jaina monks live. 3 A person who is considered lower than the monk but higher than the layman. GJ.V. 3

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34 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME pursuits, either not suspecting the origin of the text or ignoring it as a matter of little or no consequence. There are, however, indications in our MSS. that the dharani was recited not in public places (i. e., the Jaina temples) but in private homes and by non-Jaina teachers or priests. It is stated in the colophon of two (B and C) of our three manuscripts that the stotra should be recited seated on a magic circle (mandala) in the innermost chamber of the house where the treasury is located. The colophon of one MS. (C) further adds that it should be read after offering to the priest (guru) milk, clothes and silver coins. It also states that if at the time of its recitation [the yajamana] enters a room to the left of the recitation chamber, and while attentively listening to the stotra engages in intercourse, a son will be born to him. It is hard to believe that a Jaina monk could easily be persuaded to render a service of this nature even in a private household of a Jaina layman. It appears more plausible that the term guru refers not to a Jaina monk but to a Brahmin priest. It is customary even to this day to find such pujaris or Brahmin priests employed in the rich Jaina households for the purpose of offering worship of an elaborate nature to the Jaina deities surrounded by devatas of Jaina and non-Jaina pantheon. The part played by the Vasudhard-dharani in the Jaina community thus appears to have been ultimately restricted to private homes of a few Jainas served mainly by Brahmin priests who might have utilized similar other non-Jaina tantric texts like the Devi-mahatmya or the Candi-stotra popular among the Hindus of Gujarat. The peculiar circumstance of coming across this hitherto unpublished Buddhist work enjoying the hospitality of its rival community rendered it a very interesting find, and I decided to collect its manuscripts. Three small MSS. (each of six folios) were made available to me by the courtesy of Muniraja Sri Punyavijayaji and Pandit Dalsukh Malvania, Director of the L. D. Institute of Indology, Ahmedabad. Upon my arrival in London I learnt that Professor J. Brough, Professor of Sanskrit in the University of London, had also obtained two MSS. of this work from Nepal: (1) Vasudhara-dharani (No. 41), (2) Vasudhara-vrata-katha (No. 46a) and one MS. of an allied work called. Sucandravadana (No. 87). Of these the first and the third are written in Buddhist Sanskrit and the second is in Newari. One MS. of the Vasudhara-dharani (No. 1355) agreeing with Professor Brough's No. 41 and one of the Sucandravadana (No. 1400) agreeing with Brough's

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VASUDHARA-DHARANI : 35 No. 87 were found in the Cambridge University Library. Several MSS. connected with these texts are also listed in the Catalogue of the Sanskrit MSS, in the Tokyo University Library, Tokyo, 1965 (Nos. 355-362 and see also p. 345). There are six Tibetan works dealing with Vasudhara in the Tibetan Tripitaka". There are three Chinese versions dated respectively mid-seventh century, mid-eighth century and late tenth century.6 Several images and mandalas of the goddess Vasudhara originating in Nepal have also been found.? In view of this vast literature connected with the cult of Vasudhara, it was decided by us to prepare a critical edition of the Vasudhara-dharani utilizing the various MSS. of its different versions. The work is in progress and may take a longer time than earlier envisaged. As the three MSS. found in Ahmedabad form a distinct group, I have found it desirable to publish them in advance in order to elicit more information about it from the Jaina community and also to emphasize the need of diccovering remaining MSS. of this work in their rich bhandaras. The three Ahmedabad MSS. used here in preparing the text of the Vasudhara-dharani are referred to as A (No. 3222), B (No. 2848), and C (No. 5730). Despite the different wordings of the initial greetings to the Jina, viz., jinasasanaya (A), jinaya (B), and vitaracaya (C) (found only in these three MSS.) all three retain a common error in in their first three folios where the sequence of the text has been 4 See C. Bendall's Catalogue of the Buddhist Sanskrit MSS. in the University Library, Cambridge, 1883. The following MSS. may be consulted : (1) Vasudhara-dharani (No. 1355), (2) Arya-sri Vasudhara namastottara-satakam (No. 1356), (3) Vasundhara-devivrata (No. 1357), (4) Sucandravadana (No. 1400), (5) Vasudhara dharani-katha (No. 1680 and 1690). 5 The following may be consulted : Arya-vasudhare-nama dharani (341-1) Vasudhara-sadhana (4059-80), Vasudhara-dharanyupasdesa (4061-81), Arya-vasudhara-nama Astottara-sataka (4524/81), Vasudharinikalpa (5127/81) and Vasusrikalpa (5128/87). (Tokyo-Kyoto ed. 1955-61). Taish) Tripitaka, vol. 20, Nos. 1162, 1163, 1164. I owe these references to Professor J. Brough. 7 See Art of Nepal by Stella Kramrisch; Journal of the Indian Society of Oriental Art I, 1933, Calcutta, p. 129, Plates XXXIX, XL. 8 These numbers refer to the Index of the Library of L. D. Institute, Ahmedabad

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36 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME broken by the misplacement of certain paragraphs as indicated below in the text. This must be the result of following a faulty MS. tradition. It is apparent therefore that all three MSS. have either been copied from a single original MS. yet to be found, or one of them has served as the original for the remaining two. Of the three again, B and C have many common readings which sometimes appear to be improvements made on the readings in A. B and C have also a long passage at the end of the text of the stotra explaining the various blessings obtained by its recitation, a feature totally absent from A. For these reasons we are inclined to believe that A is older than the other two. A is also the only dated MS. and we have chosen it for the basic text. Variant readings in B and C, even when they appear to be better than A, are given in the footnotes. Only a few scribal errors in A have been emended with the help of B and C and are noted in the footnotes as occurring in A. No attempt has otherwise been made to correct the MS. in keeping with the normal practice of editing works in Buddhist Sanskrit. The colophon of A states that the work was written for the benefit of Sah sri Indraji Sundara, son of Pamaniya, in the year Samvat 1695, i. e., A. D. 1638. The work has thus been known to the Jainas of Gujarat for at least three centuries, and it should be possible to find many more MSS. of this work in Gujarat. Great importance attaches to the date of this MS., since the Nepalese MSS. of this work in Professor Brough's collection and in the University Library, Cambridge are based on a different set of MSS. far larger in size than our A, and contain large portions of additional material mainly in the form of mantras and details regarding the actual rites. Only one of these, viz., No. 1355 of the Cambridge University Library is dated as Nepali Samvat 696 (A. D. 1576). If this be the true date of this MS., it is apparent that the MSS. A, B and C have preserved an earlier redaction, which would render them of great value for a history of the Vasudhara cult in general and for a critical edition of the Vasudhara-dharani in particular. 9 The name of this patron is not found in any other prasastis published recently in the Catalogue of Sanskrit and Prakrit MSS. from the L. D. Institute of Indology, Ahmedabad.

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VASUDHARA-DHARANI : 37 zrI vasudhArAdhAraNI / * OM namaH / zrI jinazAsanAya / saMsAradvayadainyasya pratihantR dinAvahe / vasudhAre sudhAdhAre namastubhyaM kRpAmahe // 1 // evaM mayA zrutamekasmin samaye bhagavAn kozAmbyAM mahAnagaryo kaNTakasaMjJake mahAvanavare ghositArAme mahAbhikSusaMghena sArdhaM paJcamAtrairbhikSuzataissaMvarabahulaizca tapodhanairbodhisatvairmahAsatvaiH' sarvazuddhadharmaguNasamanugataiH parivRtaH puraskRto dharma dezayati sma / tena puna:10 khalu samayena kauzAmbyAM mahAnagaryA sucandro11 nAma gRhapatiH prativasati sma / upazAntendriya upazAntamAnaso12 bahupoSyo bahuputro bahuduhitRko13 bahubhRtyaparijanasampanna! 4: zrAddho mahAzrAddhaH kalyANAzayaH [yena] bhgvaaNstenopsNkraantH15| upasaMkramya bhagavataH16 pAdau zirasAbhivandya bhagavantaM anekazatasahasrapradakSaNIkRtyaikAnte nyssiidt18| ekAnte19 niSaNNazca20 sucandro gRhapatirlabdhAvasaro bhagavantametadavocata / pRccheyamahaM bhagavantaM tathAgataM arhantaM samyaksaMbuddhaM kiJcit pradezaM sacet22 me bhagavAnavakAzaM kuryAt pRssttprshnvyaakrnnaay| evamukte bhagavAn sucandraM gRhapatimetadavocat / pRccha23 tvaM gRhapate yadyadevAkAMkSasi24. ahaM te yathApraznavyAkaraNAya cittmaaraadhyissye| evamukte sucandro gRhapatiH sAdhu bhagavanniti kRtvA bhagavataH pratizrutya bhagavantametadavocat / * A refers to MS. No. 3322 used here as our text. __ B refers to MS. No. 2848. ___C refers to MS. No. 5730. 1 C namo / 2A -yaH / B zrI ninAya / C zrI vItarAgAya / 3 B dinaamye| C divAmahe / 4 BC kRpAmaye / 5 BC mahAnagayauM viharati sma / 6 A -nai| 7 A -tvai| 8 A -zruddha-I C-suddharma- / 9 Adharma | BC dharma / 10 B khalu punaH / 11 A sucandrau / 12 B-manA / C mAna / 13 B -triko| 14 B bahubhRtyaparijanaH / 15 B-tenopakrAntaH / 16A bhagavata / 17 ABC follow here a faulty MS. tradition and read: -bhagavantaM gRhapatirdaridratAyA praznaM pripRcchti| atha sucandro gRhapatibhaMgavantametadavocat / daridro'haM bhagavan...upto...kuTumbAzca bhveyuH| evamukte bhagavAn sucandragRhapatimetadavocat / asti gRha [ here there is a gap] manekazatasahasrakRtva: pradakSiNIkRtyaikAnte niSIdat... upto ...kimiti tvaM [here there is agap] teSvasaMkhyeyeSu kalpeSvatIteSu pramANeSu ydaasiit...| We have rearranged the sequence of the text with the help of Brough's Nepalese MS. No.41. 18 A niSIdat / BC nyaSIdat / 19 A ekAnti | BC ekAnte / / 20 A niSiNNazca | BC niSinnasya / 21 A pRcchaikamahaM / B pRccheyaM / C pRcchehaM / 22 B scen| C sacet / 23 A ppRcch| B pRcch| C pRccha / 24 A-kaaksssi| BC-kAkSasi / ekA

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38 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME kathaM bhagavan kulaputro vA kuladuhitA vA daridro bhUtvA adaridro bhavati vyAdhitazca bhUtvA avyAdhito bhavati / atha khalu bhagavAn jAnanneva sucandraM gRhapatimetadavocat / kimiti tvaM [gRhapate daridratAyAH paripraznaM pRcchasi evamukte] gRhapatirbhagavantaM etadavocat / daridro'haM bhagavan daridro'haM sugata bahupoSyo' bahuputro bahadahitako bhbhRtyprijnsNpnnshc| taddarzayatu10 bhagavAstAdRzaM dharmaparyAyaM yena daridrAH satvA:11 adaridrAH bhaveyuHvyAdhitAzca sattvA12 avyAdhitA13 bhaveyuH bahudhanadhAnyakozakoSTAgArasampannAzca14 bhaveyuH priyA15 manApAzca16 manojJA:17 saMdarzanIyAzca bhaveyuH dAnapatayo mahAdAnapatayazca akSINahiraNyasuvarNadhanadhAnyaratnakozakoSTAgArAzca18 bhveyuH| maNimuktAvaiDUryavajrazaGkhazilApravAlajAtarUparajatasamRddhAzca bhaveyuH / supratiSThitasusamRddhagRhaputradAra-21 kuTumbAzca bhveyuH| __ evamukte22 bhagavAn sucandragRhapatimetadavocat / asti gRhapate23 teSvapi asaMkhyeyeSu24 kalpeSvatIteSu pramANeSu yadAsIt tena kAlena tena samayena bhagavAn vajradharasAgaranirghoSo nAma tathAgato'rhan samyaksaMbuddho loka utpAta(di26) vidyAcaraNasampanno27 lokavidanuttara:28 puruSadamyasArathiH29 zAstA devamanuSyANAM ca buddho bhagavAn / tasya tathAgatasyAntikAnmayA31 gRhapate ayaM vasudhArA nAma dhAriNI32 zrutA zrutvA copagRhItA33 dhAritA vAcitA paryavAptA pravarttitA prakIrtitA anumoditA parebhyazca vistareNa34 saMprakAzitA35 ahamapyetarhi36 gRhapate tAM dhAriNI bhASiSye yathA asyA dhAriNyAH prabhAvena kulaputraM mAnuSA37 na viheThayanti amAnuSAH ... yakSAH ... rAkSasAH ... pretAH ... pizAcA ... bhUtA ... kumbhANDA38 ... 1 AC bhagavAn / B bhagavan / 2 C vyAdhito bhUtvA / 3 C-evaM / 4 C-ndro| 5 Restored from Brough's Nepalese MS. 41. 6 AC -vAn / B-van / 7 AC-poshyo| B-possyo| 8 Not in BC. 9 C -prijnshc| 10 B deshytu| C drshytu| 11-12 AC srvaaH| B sattvAH / 13 A avyAdhi / BC avyaadhitaa| 14 A koSTa- BC koza-1 15 A priya / BC priyA / 16 Not in B. 17 B manozAzca / C mnonyaa| 18 B-gArasaMpannAzca / 19 C maNimuktAvanavaiDUryazaGkha- / 20 Csuprtissttti-| 21 C susamRddhi 22 A evamukti / BC -kte / 23 ABC read asti gRhamanekazatasahasrakRtvaH pradakSaNIkRtya...as a result of following a faulty MS. tradition. See above. 24 C asNkhyessu| 25 A praannessu| BC pramANeSu / N apramANeSu which appears to be correct. 26 BC utpaataadi| N utpaadi| 27 AC-cAraNa-I B caraNa28 C-dunuttrH| 29 ABC -danya- / Nepal (41)-damya- / 30 BC devAnAM ca manuSyANAM ca / 31 C tathAgataH zAntikAn / 32 A dhAriNI throughout in A. 33 B shrutvopgRhiitaa| C codgRhiitaa| 34 A vistaarenn| BC vistareNa / 35 A sNprkaashitaaH| BC -taa| 36 B -etaaN| 37 C kulaputramAnuSA / 38 B kubhANDA | Cadds kumbhiindraa|

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VASUDHARA-DHARANI : 39 skandA ... apasmArA ... ustA ... pUtanA ... kaTapUtanA ... yAtudhAnA na viheThayanti / 1 mUtrAhArA rudhirAhArA viSTAhArA vasAhArA mAMsAhArA zleSmAhArA pUAhArA siMhANakAhArA khelAhArA medhAhArA madyAhArA jAtAhArA jIvitAhArA balyAhArA mAlyAhArA yAvaducchiSTAhArA2 na viheThayanti / yasya ceyaM gRhapate dhAriNI zrAddhasya kulaputrasya vA kuladuhiturvA hRdayagatA hastagatA zrutimAtragatA paryavAptA pravarttitA prakIrtitA viciMtitA dhAritA vAcitA likhitA anumoditA parebhyazca saMprakAzitA ca bhaviSyati tasya kulaputrasya kuladuhiturvA dIrgharAtraM' arthAya sukhAya hitAya kSemAya subhikSAya yogasaMbhArAya bhaviSyati / yazcaimA vasudhArAdhAriNI' tathAgatebhyo'rhadrayaH samyaksaMbuddhebhyo mahatI10 udArAM pUjAM kRtvA namaskRtvA arcayet ardharAtrezcaturAn11 tasya devatA AttamanaskAH12 pramuditAH prItAH saumanasyajAtAssvayamevAgatya13 dhanadhAnya hiraNyasuvarNaratnavRSTiM pAtayiSyanti tAH prItAstathAgatazAsane prItA buddhaprajJatyA4 prItA saMghaprajJatyA prItA mama dharmabhANakasyAzayena15 ca / namo rtntryaay| OM namo bhagavate vajradharasAgaranirghoSAya tathAgatasyAhate samyaksaMbuddhAya tadyathA OM zrI16 surUpe suvadane bhadre subhadre bhadravati maMgale sumaMgale maMgalavati argale argalavati candre candravati ale acale acapale udghAtini udbhedini ucchedini udyotini zasyavati17 dhanavati dhAnyavati udyotavati zrImati prabhavati amale vimale nirmale rurume surUpe surUpavimale18 arcanaste atanaste vitanaste anunaste(1) avanatahaste vizvakezi vizvanizi vizvanaMzi vizvarUpiNi vizvanakhi vizvazire vizuddhazIle vigUhanIye vizuddhanIye uttare anuttare aMkure19 naMkure19 prabhaMkure19 rarame ririme rurume khakhame khikhime khukhume dhadhame ghidhime dhudhume tatare tatare ture20 ture20 tara tara tAraya tAraya mAM sarvasatvAMzca vajra vajra vajragarbha vajropame vajriNi21 vajravati uke bukke nukke dhukke kake hakke Dhakke Takke varakke Avartini22 nivartini23 nivarSaNi 24 pravarSaNi vardhani25 pravardhani26 niSpAdani vajradharasAgaranirghoSaM tathAgataM anusmara anusmara sarvatathAgatasatyamanusmara saMghasatyamanusmara anihAri7 anihAriza tapa tapa kuTa kuTa pUra pUra pUraya pUraya bhagavati vasudhAre mama saparivArasya sarveSAM satvAnAM ca bhara bhara bharaNi 1 A mu-| BC muu-| 2-2 B all words end with visarga. C follows A. 3 A -pti| BC -pate / 4 AB prkiirttaa| C prakIkRtA / 5 ABC paraizca / 6 Not in C. 7 C -raatri| 8 C ysymaaN| 9 A -nnii| 10 C mhtaaN| 11 C ardharAtre catu- | 12 A manaskAH / BC AttamanarakAH / 13 A somnsy-| 14 A prabuddha-1 BC buddha- / / 15 A dhrmbhaassnnksyaaNshyen| C dhrmbhaannksyaaNshyen| B dharmabhANakasyAzayena / 16 B shriiN| 17 A shissyvti| B zasyavati / C sazyavati / 18 Creads vizvamaMsi after this. 19 A -krure| BC -kure| 20 Removed in B. 21 A vajrANi / 22 B Avarttani / 23 B nivrtni| 24 A niSaNi (? | BC nivrssgi| 25 c vrssini| 26 C prvrdhini| 27 B anihaar| C anihAri /

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40 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME zAntamati jayamati mahAmati sumaMgalamati piMgalamati subhadramati zubhamati candramati AgacchAgaccha samayamanusmara svAhA / svabhAvamanusmara svAhA / dhRtiM ... / sarvatathAgatAnAM vinayaM ... hRdayaM ... upahRdayaM ... jayaM... vijayaM ... sarvasatvavijayamanusmara- svaahaa| OM zrIM vasumukhIM svAhA / OM zrIM vasuzrI svAhA / OM zrIM vasutriye svaahaa| OM vasumati svaahaa| OM vasumatizriye svAhA / OM vasve svAhA / OM vasude svAhA / OM vasuMdhari svAhA / OM dhariNi dhAriNi10 svAhA / OM samayasaumye samayaMkari mahAsamaye svaahaa| OM zriye svAhA / OM zrIkari svAhA / OM dhanakari svAhA / OM dhaanykri| svaahaa| muulmntr| OM zriye zrIkari svaahaa12| OM13 dhanakari4 dhaanykri| ratnavarSaNi svaahaa| sAdhyamantra OM vasudhAre svaahaa| hRdayam / lakSmyai svaahaa| OM19 upahRdayam / OM lakSmI bhUtalanivAsine20 svaahaa| saM yathAsa 1 OM yAnapAtrAvahe svaahaa| mA dUragAminI22 anutpannAnAM dravyANAmutpAdini utpannAnAM dravyANAM vRddhikari23 truTe24 liTe liTe li24 ita ita AgacchAgaccha25 bhagavati26 mA vilamba manorathaM me paripUraya / dazabhyo27 digbhyo28 yathodakadhArA29 paripUrayanti30 mahIM yathA tamAMsi31 bhAskaro12 razminA33 vidhyApayati34 ciraMtanAni yathA zazI zItAMzunA niSpAdayatyauSadhI:35 | indro vaivasvatazcaiva varuNo dhanado yathA / manonugAminI39 siddhi40 cintayanti sadA nRNAm41 || 1 BC shaanti-| 2 Cadds vijayamati mahAmati / 3 BC add : AkAramanusmara svAhA / AvaraNaM anusmara svAhA / prabhAvamanusmara svAhA / 4 BC add sarvatathAgatavijayaM anusmara svAhA / 5 Removed in B. 6 C shrii| 7 Cadds before this: OM zrI vasupriye svaahaa| 8 C-shriiye| 9 BC -raNi / 10 B-rnni| 11 B dhnaakri| 12 Not in BC. 13 Not in BC. 14 C dhnNkri| 15 C dhaanykri| 16 Not in A. 17 B-mntrH| C mantrAH / 18 BC OM lkssmiiye| 19 Not in BC. 20 B-nivaasiniye| C-nivAzaniye / 21 B ythaudN| 22 C dUragAmini / 23 B vRddhikri| 24-24 C OM Tili Tili Teli Teli / B truTili 2 Teli 2 / 25 C aaglaagch| 26 C bhvti| 27 A dishibhyo| C dizabhyo / 28 B dishyo| 29 B-dhaaraaH| 30 B-yati / 31 C tamAsi / 32 A -re| C bhaasvro| 33 BC rsminaa| 34 B vidhyaayte| c vidyAyate / 35 A-dhii| 36 A vaivshrut-| BC vaivazvata- / 37 C dhanadaH / 38 C stthaa| 39 A -mini / 40 A-siddhii| 41 Cadds // 1 //

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VASUDHARA-DHARANI : 41 tathemAni yathAkAmaM cintitaM satataM mama / prayatnaM tu prasiddhayantu sarvamantrapadAni ca // tdythaa| suTa suTa khaTa khaTa khiTi khiTi' khuTu khuTu maru maru muMca muMca maruJca maruJca tarpiNi' tapiNi tarjani tarjani dehi dehi dApaya dApaya uttiSTa uttiSTa hiraNyasuvarNa pradApaya svaahaa| annapAnAya svaahaa| vasunipAtAya svaahaa| gauH svAhA surabhe svaahaa| vasu svaahaa| vasupataye svAhA / indrAya svAhA / yamAya svAhA / varuNAya svaahaa| vaizravaNAya svAhA111 digbhyo vidigbhyaH svAhA / utpAdayantu me kAMkSAvirahaM anumodayantu imaM12 me12 mntrpdaaH| OM haM hI ehyehi bhagavati dada14 dApaya svAhA / etadbhagavatyA AryavasudhArAyA hRdayaM mahApApakAriNo'pi siddhyati puruSapramANAn svabhogAn16 dadAti IpsitaM manorathaM paripUrayati kAmaduhAn yAn kAmAn kAmayati tAMstAnIpsitAn pripuuryti| muulvidyaa| namo ratnatrayAya / namo devi dhanadaduhite vasudhAre dhanadhArAM pAtaya kuru 2 dhanezvarI dhanade ratnade he19 hemadhanaratnasAgaramahAnidhAne nidhAnako TizatasahasraparivRte20 ehyehi bhagavati pravizya matpuraM madbhavane mahAdhanadhAnyadhArAM pAtaya kuru 2 OM haM21 traTa kailAsavAsinIye22 svAhA / mhaavidyaa| OM vasudhAre mahavRSTinirAtini vasu svAhA / mUlahRdayaM / OM vasudhAre sarvArthasAdhini23 sAdhaya 2 uddhara 2 rkss2| sarvArthanidhiyantraM vava TaTa vava24 TaNTa25 DaNDa26 svaahaa| paramahRdayaM / OM namo bhagavatyai AryalevaDike yathA jIvasaMrakSaNi7 phalahaste divyarUpe dhanade varade zuddha vizuddha zivakari28 ra bhayanAzini29 bhayadUSaNi sarvaduSTAn bhaJjaya 2 mohaya 2 jambhaya 2 stambhaya 2 mama zAnti puSTiM30 vazyaM rakSAM31 ca kuru 2 svaahaa| levaDikA32 dhAriNIyaM33 | iyaM sA gRhapate imAni vasudhArAdhAriNImantrapadAni34 sarvatathAgatAnAM arhatAM samyaksaMbuddhAnAM pUjAM kRtvA SaNmAsAnnAvartayet35 tataH siddhA bhavati yasmiMzca sthAne iyaM mahAvidyA vAcyate sA dik pUjyamAnA 1 B cintntu| c cintate / 2-2 C prycchntu| 3-3 A -padAn ih| B padAni c| 4-4 C piTi piTi / / 5-5 B sura sur| C suru suru / 6-6 B muraJca | C muruzca / 7-7 BC trpnni| 8 A vasuni paataay| C vasunipatAya / 9 C gau| 10 Cadds: vasudhipataye svAhA / 11 Cadds: kuberAya svaahaa| 12-12 BC ime| 13 B -jhaaN| 14-14 AC ddaay| B dada dApaya / 15 AC siddhyanti / B siddhyati / 16 BC zca bhogAn / 17 A ipsitaM / 18 BC sarvakAmaduhAn / 19 Not in BC. 20 BC-koTI- / 21 BC huuN| 22 A -vaasinyau| 23 BC -sAdhane / 24 Cb| 25 BC tttt| 26 BC daNDa / 27 C-kssinni| 28 B zvaMkari / C zivaMkari / A -naasini| B -nAzani / C-nAzini / 30 C tuSTiM / 31 B rkssN| 32 B levddik-| 33 B dhaarnnii| 34 C-mantradhAraNIpadAni / 35 B SaNmAsAn aa-|

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42 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME bhavati pauSTikakArya svagRhe paragRhe vA bhagavatastathAgatasyAryAvalokitezvarasya ca mantradevatAyAzcAgrataH sarvabuddhabodhisatvebhyo namaskRtvA zubhe sthAne koze koSTAgAre vA candanena caturasramaNDalaM kRtvA trIn vArAn aavrtyn| tato gRhapate kulaputrasya vA kuladuhiturvA mahApuruSamAtrayA vasudhArayA gRhaM paripUrayati sarvadhanadhAnyahiraNyasuvarNaralaiH sarvopakaraNaizca sarvopadravAMzca nAzayati / tena hi tvaM gRhapate udgRhISvemAM vasudhArA nAma dhAriNIM dhAraya vAcaya dezaya ugrAhaya paryavApnuhi pravartaya anumodaya parebhyazca vistareNa saMprakAzaya tada bhaviSyati dIrgharAtraM arthAya hitAya subhikSAya kSemAya yogasambhArAya ceti / sAdhu bhagavanniti sucandro gRhapatiH bhagavato'ntikA dimAM vasudhArA10 nAma dhAriNI11 zrutvA hRSTa:12 tuSTa udagra AttamanAH pramudita:14 prItisaumanasyajAto15 bhagavatazviraNayornipatya kRtakarapuTo bhUtvA bhagavantametadavocat / udgRhItA me18 bhagavan iyaM vasudhArA nAma dhAriNI20 prakIrtitA21 dhAritA vAcitA paryavAptA anumoditA manasAnupariciMtitA22 ca parebhyazca vistareNa idAnI samprakAzayiSyAmIti23 / ___ atha tatkSaNamAtreNa sucandro nAma gRhapati[:] 24paripUrNakozakoSTAgAro babhUva / atha khalu sucandro gRhapatiH24 bhagavantaM anekazatasahasrakRtva:25 pradakSiNIkRtya bhagavataH pAdau zirasAbhivandya bhagavantaM anekazaH punaH punaravalokya bhagavato'ntikAt prakrAntaH27 / atha28 khalu bhagavAnAyuSmanta AnandaM Amantrayate sm| gaccha tvaM AnaMda sucandrasya gRhapateragAraM gatvA ca29 paripUrNa pazya sarvadhanadhAnyahiraNyaratnasuvarNaiH sarvopakaraNairmahAkozakoSTAgArANi ca paripUrNAni / atha khalvAyuSmAn AnaMdo bhagavataH pratizrutya yena kozAmbI mahAnagarI yena sucandrasya gRhapateragAraM31 tenopasaMkrAntaH 132 upasaMkramyAbhyantaraM pravizyAdrAkSIt tat paripUrNa sarvadhanadhAnyahiraNyasuvarNai:34 sarvopakaraNaizca 1 BC Avartayet / 2 Not in C. 3 B-mAtraM yaa| 4 BC -hiraNyaratnasuvarNaiH / 5 A -pti| B -pate / Not in C. 6 B -hiisvemaaN| C grahIsvemAM / 7 BC dhaarnniiN| 8 A paryu-| BC pry-| 9 A -pti| BC-patiH / 10 BC -dhaaraa| 11 BC -dhaarnniiN| 12 BC hRSTa / 13 A udagRha / BC udaya / 14 B-taaH| C-to| 15 B-yaato| 16 C-bato zca- / 17 C -zcaraNayo nipatya / 18 Not in B. 19 C-dhaaraaN| 20 C dhaarinniiN| 21 AB prkiirttaa| C prkiikRtaa| 22 BC manasA supriciNtitaa| 23 C saMprazaviSyAmIti / 24-24 Not in A but occurs in BC. 25 A -kRta / C-kRtvA / 26 A -avloke| BC -lokya / 27 B-nta / 28 C atr| 29 Not in C. 30 Not in c. 31 C-raagaarN| 32 C-kraant| 33 C pripuurnnsrv-| 34 C-suvarNAH /

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VASUDHARA-DHARANI : 43 mahAkozakoSTAgArANi ca paripUrNAni / dRSTvA ca vismito hRSTaH santuSTaH udagra AttamanA' pramuditaH prItisaumanasyajAto yena bhagavAMstena upasaMkrAntaH / upasaMkramya bhagavataH pAdau zirasAbhivaMdya bhagavantametadavocat / ko bhagavan hetuH kaH pratyayo'sya yena sucandro gRhapatirmahAdhano mahAbhogo mahAkozakoSTAgAraH " sarvadhanadhAnyasamRddhaH7 saMvRttaH' / bhagavAnAha / zrAddhAnaMda sucandragRhapatiH paramazrAddhaH kalyANAzayaH / udgRhItA ca teneyaM1 vasudhArA nAma dhAriNI12 dhAritA vAcitA dezitA grAhitA paryavAptA prakIrtitA" anumoditA idAnIM parebhyazca 14 saMprakAzayiSyati / tena cAnaMda tvamapyudgRhISvemAM " vasudhArA 16 nAma dhAriNIM 17 dhAraya vAcaya dezaya grAhaya paryavAhi pravarttaya prakIrtaya anumodaya parebhyazca vistareNa saMprakAzaya / yasyeyaM kulaputrasya vA kuladuhiturvA 20 hastagatA gRhagatA pustakagatA bhaviSyati na tasya rogadurbhikSamarakakAMtArAdayo 21 bhaviSyanti 22 krameNa 23 vibhavAstasya 24 pravardhiSyantez5 tad bhaviSyati bahujana hitAya bahujanasukhAya lokAnukampAyai mahato janakAyasyArthAya 26 sukhAya devAnAM ca manuSyANAM ca / nAhaM AnaMda taM dharma" samanupazyAmi sadeva ke loke sadevamAnuSAsurAyAM ca imAM vasudhArA 32 nAma dhAriNIM naitatsthAnaM 34 vidyate / tat kasya hetoH / abhedyA kSINakuzalamUlAnAM satvAnAM zrutipatha [mapyA ] gamiSyanti 1 B hRSTa 2 B -manAH / 3 C sirasA - 4 A - pati mahA- / 5 A kozaM ko- 1 6 A koSTAgAraM / BC - gAraH / 7 BC sarvadhAnyahiraNyasuvarNasamRddhaH / 8B saMvRtaH / A - pati / 9 10 Cva / 11 B tena iyaM / 12 C dhAraNI / 13 AB prakIrtatA / 14 15 16 17 18 19 20 C -ndro gRhapatiH / BC kozako - 1 Ci C dhAraNIM / A prakIrtaha | Not in C. BC vA hRdayagatA / A paraizca / parebhyazca / C tvamapyanugRhIvemAM / C prakIkRtA / BC prakIkuru / samAra ke 28 sabrahma ke 29 sazramaNa brAhmaNikAyAM 30 prajAyAM mahAvidyAM anyathA kariSyati atikramiSyati vA hyete AnaMda vasudhArAdhAriNImantrA 36 na vaite 37 ka: 3 punarvAdo10 pustakagatAmapi kRtvA gRhe 21 BC - maraka- / 22 A bhaviSyati / 23 C krameNaM / 24 25 26 Cadds dhanaM / C - Syate / A - kAyasyarthAya / A dhrm| BC dharme / 31 32 B -dhArAM / 33 C dhAriNI / 34 35 36 37 A makara | BC - Syanti / 27 28 A sanArake / BC samArake / 29 C zAke / 30 C sazravaNike sabrAhma- / C - mAnuSAsurANAM / 39 40 B -kAyasya / A - sthAna BC - sthAnaM / B abhidyA / C - dhAriNI mantrapadAH / C caite / 38AC zruvAnAM / B satvAnAM / A zrutipathamyAgamiSyanti / BC - madhyA - 1 C adds ye /

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44 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME dhArayiSyanti / tat kasya hetoH| sarvatathAgatAnAM hyetad vAkyaM sarvatathAgataireSA dhAriNI bhASitA adhiSThitA svamudrikayA mudritA prabhAvitA prakAzitA prakIrtitA anumoditA prazastA saMvartitA vivRtottAnIkRtA ArocitA10 svAkhyAtA sunirdiSTA ca sarvasatvAnAM daridrANAM nAnAvyAdhiparipIDitAnAMta sarvadRSTabhayopadravANAM12 cArthAyeti / Ananda Aha / udgRhItA me bhagavanniyaM vasudhArA nAma dhAriNI13 dhAritA vAcitA grAhitA dezitA pravarttitA prakIrtitA15 anumoditA manasA supariciMtitA / atha khalvAyuSmAn AnaMda utthAyAsanAdekAMsamuttarAsaMgaM kRtvA dakSiNajAnumaNDalaM pRthivyAM pratiSThApya yena bhagavAMstenAMjaliM praNamya tasyAM velAyAM kRtakarapuTo bhUtvA idamudAnayati sma / aciMtiyo bhagavAn buddho buddhadharmo'pyaciMtaya18 / acitayo hi2'tra sattAnAM vipAkazcApyaciMtaya21 / / zAstrAya22 nehi sarvajJa jarAmaraNapAraga23 / dharmarAja phalaprAptA24 buddhavIraM 25 namostu te // 1 C -ssyti| 14 Bafter dezitA / 2 C vAkyaiH / 15 A prkiirttaa| BC prakIkRtA / 3 C -gatar essaa| 16 A suprishcititaa| BC supariciMtitA / 4 A adhykssitaa| BC adhisstthitaa| 17 B-dharmA / 5 BC svmudryaa| 18 C aciMtayA / 6 A prkiirttaa| BC prakIkRtA / 19 C aciNtye| 7 A aprazastA / BC prazastA / 20-20 BC prasannAnAM (instead of 'tra 8 C smprvrtitaa| sttaanaaN)| 9 C vidhRto-| 21 B-aciMtayaH / C aasevitaa| 22 C sma(?)stAya / C-vyAdhimAripari-! 23 BC -paargH| C -sarvaduSTopadravANAM / 24 B phalaprApta / C phalaM prApta / 13 C dhaarnniiN| 25 B-viraM / C vIra / The Nepalese Ms. seems to preserve a better reading : acintayo bhagavAn buddho buddhdhrmaapycintyo| acintayo'bhiprasannAnAM vipAkazcApyacintayA / zAstA''jAnaya sarvaza dharmarAjaparamparA / pAragAmiphalaprApto buddhavIra namostu te // The Divyavadana has preserved parts of these two verses : evaM hyacintiyA buddhA buddhadharmApyacintiyA // 10 // acintiyaH prasannAnAmapratihatadharmacakrapravartinAm / samyaksaMbuddhAnAM nAlaM guNapAramadhigantum // 11 // (P. L. Vaidya's edition XXXI, p. 306)

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VASUDHARA-DHARANT : 45 atha khalvAyuSmAn AnaMdo hRSTaH tuSTa: AttamanA' pramuditaH prItisaumanasyajAto bhagavantametadavocat / ko nAma bhagavan dharmaparyAyaH kazcamAM dhArayAmi / bhagavAnAha / tena hi tvamAnaMda sucandragRhapatiparipRcchetyapi dhAraya sarvadhanadhAnyamityapi' dhAraya sarvatathAgataprazasto vasudhArAdhAriNIkalpaMdeg ityapi dhAraya / idamavocad bhagavannAttamanA10 AyuSmAn AnaMdaste ca bhikSavaste ca bodhisatvA sA sarvAvatI11 parSada!2 sadevamAnuSAsuragandharvAzca13 loko bhagavato bhASitamabhyanaMdanniti / ityAryavasudhArAdhAriNI14 samAptA15 // cha / cha / cha / / 16 (1) saMvat 1695 varSe azvana vadi 7 bhRguvAsare // cha / cha / ch|| sAhazrI pamanIyAsuta sAhazrI 5 indrajI suMdara paTanArtha paropakArArtham / / // zubhaM bhavatu lekhkpaatthkyoH|| ch|| shriiH|| 1 C tussttodn| 2 BC AttamanAH / 3 C bhagavAn / 4 A -paryAya / 5 B kazcainAM / C karayenA / ( Perhaps we should read kathaJcenaM ) 6 C sucandro gRhapatiM pripuchetypi| (N sucaMdrasya gRhapate: paripRcchetyapi / ) 7 N gives a better reading : sarvadhanadhAnyahiraNyasavarNaratnanidhAnamityapi / 8 C sarvatathAgate prazAstorate / 9 C -dhAriNI-1 10 C -ttmaanaaN| 11 A sarvavatI / BC srvaavtii| 12 BC pariSat / 13 C mAnuSAsuraM gandharvAzca / 14 B -vasudhArAstotraM / 15 B sampUrNa / 16 After this B has the following : iyaM vasudhArA dhanadaputrI yatra gRhe dhanAdikaM tiSThati yacca mukhyaM gRhaM tatra caturdikSu gomayaliptAni catvAri maNDalAni kRtvA tanmadhye paJcamaNDalaM tasminnupaviSTa uttarAbhimukho bhUtvA pavitragAtro vasudhArA nAma dhAriNI mahAnavadyavidyA vAcayati tad vAcakagRhapatiH sumatiH sAvadhAnatayA ekadRSTirekAyamanAstatra pratipAditasvarasyapasya(?) dvitayaH svakarasya(?) gocarAkati(3) avicchinnaprabhinnabhogayogaM ca vidhtte| iti vasudhArA nAma dhAriNI mahAzAstraM mahAsaprabhAvaM sarvarogadoSaharaM dhanadhAnyakozakoSTAgArakuTumbaputrapautrAdidArAparivRtajanaM karoti paThayamAnaM guNyamAnaM zrUyamAnaM dhAryamANaM pustakagataM sarvavijayakaraM bhavati / iti vasudhArAkalpaM sampUrNeti bhadram // C has the following after ityAryavasudhArAdhAriNI samAptA / guroH kSIrodakavastraM tathA rUppaTaMkakaM haste datvA ca vA[cyA] / AryavasudhAriNI saMpUrNa: / iyaM vasudhArA dhanadaputrI yatra gRhe dhanAdikaM tiSThati yazca mukhyagRhaM tatra gRhe caturdikSu gomayaM liptAni maNDalAni kriyante tanmadhye paJcamaM maNDalaM tatropaviSTa uttarAbhimukho bhUtvA pavitragAtro vasudhArA vAcayati vAmapArzvagRhaM upavizya sAvadhAnaH zRNoti bhomaM(gaM ?) ca karoti sutotpattiH / zrI vasudhArAstotraM samApta / so(zo ?)bhApaThanArtham / /

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A Saint like That' and 'A Saviour' In Prakrit, Pali, Sanskrit and Tibetan Literature GUSTAV ROTH Prakrit tai may represent Sanskrit tydgin "one, who abandons [worldly-mindedness]", tapin "one, who exercises asceticism", tayin "one, who protects", trayin "one, who protects" according to PSM1. The Abhidhanarajendra limits itself to two various possibilities: tai tapi (yi) n or trayin. We are concerned with tai usually interpreted as tayin' and trayin respectively. In Buddhist-Sanskrit texts tayin is frequently mentioned. metre of twelve syllables in a pada occurring in the Mahaparinirvanasutra II, Vorg. 12.9, p. 190-91 runs for instance as follows in his last two lines: Pt. H. Tri. Seth, Paia-Sadda-Mahannavo (PSM), Kalkatta samvat 1985 1928, p. 532. 2 Abhidhanarajendrah Kosah Srimad-Vijayarajendrasurisvara-viracitah, Ratlam Sri Vira samvat 2440 Khistabdah, 1913, Vol. IV, p. 2220. 3 This term does not occur in classical Sanskrit. There is, however, the verb tay (tayate, tayita): 1. To spread, extend, proceed in continuous line, 2. To protect, preserve, and tayanam: 1. Proceeding well, succeeding, 2. Increase, growth (v. Apte). 4 Ernst Waldschmidt, Das Mahaparinirvanasutra (MPS), Text in Sanskrit and Tibetisch verglichen mit dem Pali nebst einer Uber A

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A SAINT LIKE THAT' AND 'A SAVIOUR' : 47 srutveha vakyam asitasya tayinah svarge ramante sugatasya sravakah 11 A Pali parallel passage in Anguttara-Nikaya V, XXXIV = Vol. 3, p. 40 (PTS-edition) reads in the last two padas : katvana vakyam asitassa tadino ramanti sagge sugatassa savaka 11 This is one example of many passages, where Buddh.-Skt. tayin appears in the same context, in which corresponding Pali tadin is embeddeds. It has been noticed since longe that Pali tadi(n) "such, such like, of such (good) qualities" is closely connected with Vedic Sanskrit tad?s and tadiri, as it is taught by Panini VII.1. 83 in his Astadhyayi?. The correspondence tayi(n) = tadi (n) = tads (n) makes it clear enough that tayi (n) and tad? (n) are also closely related to each other. On account of this we may try to translate the Skt.-quotation of the above mentioned MPS passage as follows: "After having heard the word of a saint like that (tayinah) who is not attached (a-sitasya), the disciples of the Sugata take their delight in heaven." sita in a-sitasya is certainly P.p.p. of the Skt. root sa, si 'to bind'. setzung der chinesischen Entsprechung im Vinaya der Mulasarvas tivadins, Teil II, Akademie-Verlag Berlin 1951. 5 Cf. Heinrich Luders, Beobachtungen uber die Sprache des buddhistischen Urkanons, herausgegeben von Ernst Waldschmidt, Akademie-Verlag Berlin 1954, SS 108 : Buddh.-Skr. tayi (= P. tadi, Sk. tadrs) "ein So-Gearteter". Luders understands tayi-tadi in association with the well known term tathagata. He suggests that tayin = Skt. tadrs, in which intermediate d has been dropped, has come from an Eastern Middle-Indic vernacular and was taken over unchanged, as it is a technical term (p. 94). See P. V. Bapat, Tayin, Tayi, Tadi in the D. R. Bhandarkar Volume, ed. B. Ch. Law, Calcutta 1940, pp. 249-258. Bapat (255) has shown that the interpretation of tayi as a "protector" is of later origin, which is proved by the early Chinese translations of the Tripitaka. Bapat: "They simply show that the word was understood, in general, as an equivalent of "one who knows no sorrow", "one who has no superior", "a truthful man", "a holy man" in general, or an epithet of the Buddha or Bodhisattva." 6 R. C. Childers, A Dictionary of the Pali Language, London 1875 : "tadi (adj.) like that, such [taars]. The question is, if this term originally meant such as the Buddha or more in general such as a religious man ought to be, thus holy." Cf. Edgerton's BHSD under tayin, Pali Text Society Dictionary under tadin. 7 Otto Bohtlingk, Panini's Grammatik, Leipzig 1887, p. 384.

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48 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME This is fully confirmed by the Tibetan translation in the Mulasarvastivada Vinaya" quoted in Waldschmidt's MPS II, 12.9: ma-beins skyob-pa de'i gsun thos-nas | "Having heard the word of the Protector, who is not bound". This Tibetan translation evokes another problem: it does not confirm tayin as tadrs. Tibetan skyob-pa means " to protect, defend, preserve, save" according to Jaschke. This translation of tayin agrees with that of the Mahavyutpatti-lexicon10 which gives trayi (tayi) Tib. skyob-pall as the fifteenth epithet of Tathagata amongst the 101 Tathagatasya paryaya-namani at its beginning. Going through different Buddh.-Skt. texts we will find that tayin is regularly translated into skyob-pa wherever a Tibetan translation is available. As an example the Skt.-version of the Udanavarga I, 2 may serve, which reads in the first two padas: evam uktam bhagavata sarvabhijnena tayina12 | The corresponding Tibetan13 reads: thams-cad-mkhyen-pa skyob-pa po | (only what refers to the second pada is quoted here). The Mahaparinivanasutra is included here in the Vinayaksudrakavastu. In the Tibetan Tripitaka Peking Edition, Tokyo-Kyoto 1958, Vol. 44, the Mahaparinirvanasutra begins p. 210, Ne 218 b. 5 (end of the line) and ends p. 236, Ne 285 a. 5. It is followed by the report on the Council of Rajagrha. 9 H. A. Jaschke, A Tibetan-English Dictionary, London 1881, Reprinted: London 1949. 10 The Mahavyutpatti (Mvy) ed. Sakaki, Tokyo 1926 is a dictionary on Buddhist terms in Sanskrit, Tibetan and Chinese, which was composed at about 800 A. D. tayi (trayi) is not mentioned in the Dharma-Samgraha, A Collection of Buddh. Techn. Terms, Oxford 1885. The Chinese characters also mean "protect, protect well, save", as Mr. Imanishi from Tokyo kindly tells me. Bernhard 12 It is my pleasure to refer to the recent publication of Franz Udanavarga, Sanskrittexte aus den Turfanfunden X, Band I, Abhandlungen der Akademie der Wissenschaften. Gottingen, Vandenhoeck & Ruprecht 1965. Compare here the last pada of Uv XIX. 2: tayi sa sarvam prajahati duhkham || and p. 256, Var. lect. 3 a), n. 14. 13 Hermann Beckh, Udanavarga, Eine Sammlung Buddhistischer Spruche in Tibetischer Sprache, Berlin 1911, p. 1. Franklin Edgerton, Buddhist Hybrid Sanskrit Dictionary (BHSD) New Haven, 1953 under tayin has already noticed the discrepancy between tay (in) Skt tadrs and its Tib. translation slcyob-pa. He judges: "Tib. doubtless has a secondary popular etymology". =

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A SAINT LIKE THAT' AND 'A SAVIOUR' : 49 The consequence of the Tibetan way of translating tayin can be observed in so many ways that in cases of doubts, if one should read tayi or tapi in a Sanskrit MS, one will certainly prefer tayil4 when the corresponding Tibetan passage reads skyob-pa. And even in a case where tayi occurs without having skyob-pa in the parallel Tibetan passage we may conclude that the Tibetan translator had no tayi before him in his Sanskrit MS. The question arises how tayin, which obviously had its home in the Middle-Indic Prakrit sphere, could survive in its original form even in Sanskrit texts, though its meaning was determined as Protector and not by anything which could remind us of "Such a one". The argument that tayin was taken over unchanged into Sanskrit, as it had become a technical term 15 does not fully explain, why this term had not been sanskritized into trayin throughout its occurrences, after the meaning " Protector" had been assigned to tayin, as the Tibetan translations of this term show. The main presupposition for a correct transformation of a Prakritic word into Sanskrit was that its elements were of such a kind that they could be clearly ascertained. The tendency thereby is to return to a Sanskrit form which is supposed to be the original one. The task of transformimg tayin correctly into the corresponding Sanskrit form was not as easy as in the case of samma-sambuddha for instance. In the case of tayin a correct analysis of the term was necessary in order to reach tadrs with which this word originally was connected. The Tibetan translation of tayin shows clearly that the original meaning had changed. It was, therefore, nearly impossible to transform tayin into tadra16 for those who were arranging Middle-Indic text on the ground of the changed meaning of a comparatively rare word, the original meaning of which had become obsolete. How the meaning "protector" became attached to tayin is clearly to see. We should try to realise, how a translator had to behave, who was going to translate such a term. He will certainly have consulted 14 So Cecil Bendall was not sure if ahara-prajnatapino is correct or 0-tayino in his edition of Santideva's Siksasamuccaya (p. 31.3 and n. 1), as ya and pa cannot be discerned in his Proto-Bengali-cum Maithili MS. 15 Luders-Waldschmidt, Urkanon, $ 108, p. 94. 16 Occasionally there appears tadrnah instead of tayinah, cf. Bernhard. Udanavarga, p. 256 quoted under Var. lect. 3d): (Chakr.) devapi tasya spphayanti tadTnah. Cf. n. 12 of my article. G.J.V. 4

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50 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME first all the Sabdakosa at his disposal and Sanskrit pandits as well, the encyclopaedic knowledge of whom was proverbial in those days. They will have drawn his attention to the Sanskrit root tay (tayate) "to go towards, to protect" 17 and tay (tayate, Pass. tan) "to spread, proceed in a continuous stream of line" and (= trai) "to protect". To this group the aorist forms atayi and atayista also belong mentioned in the Kasika (7th cent. A.D.) to Panini III.1.61, further tayana "proceedind well, successful progress" in Panini (5th cent. B.C.) 1.3.38: vrttisargatayanesu kramah || We see that there is a Sanskrit root tay and tay, which would easily present itself to a man, who was concerned with tayin. Once tayin was connected with Sanskrit root tay no necessity was felt to sanskritize a term, which was regarded as Sanskritic from the origin of its root. This seems to be the reason, the main reason that the originally Prakritic term tayin survived unchanged in Buddhist and in Jain Sanskit texts as well, as we will see later. This viewpoint is fully confirmed by the great Jaina lexicographer Sri Hemacandracarya (12th cent. A.D.) who teaches in Abhidhanacintamani IV. 24: Tayikas Tarjikabhidhah, commenting on that: tayante Tayikah | tarjayanti Tarjikah 1118 "The Tayika [are those who] protect (or spread), the Tarjika [are those who] threaten." Hemacandracarya's Haimadhatuparayanam clearly attributes the meaning of "protecting" to tayi: tayi nayi raksane ca ca-karad gatau tayate teye tayita nin cavasyaketi nini tayl || (1.797) Land: tayrd samtana-palanayohl samtanah prabandhah | tayate tataye tayita.... 19 nin cavasyaketi nini tayi || (1.806) 1120 These examples show that the meaning "protector" was attributed to tayin on the ground that lexicographers connected it with the roots tay and tay which were regarded as Sanskrit roots. This also explains the fact that Tibetan translators translate skyob-pa="protector" wherever they meet tayin. There is a fixed tradition about tayin = 17 Cf. Monier-Williams, Sanskrit-English Dictionary, repr. Oxford 1951. 18 The Abhidhanacintamani of Kalikala Sarvagna Shri Hemachandra charya by Hargovindas and Behechardas, Bhavnagar, Veer era 2441, p. 383. The corresponding note in PW is incomplete. 19 The following text refers to Panini III. 1.61 and to its Kasika. This passage is omitted by me. 20 The Dhatupatha of Hemacandra, ed. by Joh. Kirste, Wien Bombay 1901, p. 97 and p. 98.

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A SAINT LIKE THAT' AND 'A SAVIOUR' : 51 w thereto had becoin both the "protector" embracing both the Jain lexicographer and Buddh.-Sanskrit-Tibetan lexicography21. We may, therefore, conclude that the original correspondence tayi(n) = tadi(n) = tad? (n) had become obsolete at a later time and was replaced by the equation tayi = trayi in both the Jaina and the Bauddha communities. Let us now make an attempt to determine the position of tayin in Jaina Literature, We already noticed that trayl (tayi) is mentioned as the fifteenth epithet of the Tathagata in the Buddh. Mahavyutpattilexicon. In Hemacandracarya's Abhidhanacintamani on the other side we do not find tayi given as an epithet of a Jina. Epithets of a Jina like Arhan, Paragatas, Trikalavit, etc. are mentioned HC. I. verse 24, 25 (0.c. p. 9), but no tayi is found among them. This situation is in full accordance with what we find in the list of epithets to Bhagavan Mahavira in the Ardhamagadhi svetam bara-Jaina Canon, where in the long list of Mahavira's epithets no tayin can be traced. Regarding this list I may refer to the beginning of the fourth anga, called Samavae22, of the fifth, called Viyahapannati23, and of the sixth called Nayadhammakahao24, where no tayin is traceable among the epithets of Mahavira. In the Uvanga also, whenever a complete list of Mahavira's epithets is given25, tayin is not mentioned among them. Hemacandracarya's silence about tayin as an epithet to Bhagavan Mahavira may indicate that he followed here the traditional line which did not have tayin as a specific epithet of the Jina26.. What the occurrence of tai in the Svet. Jaina Canon is concerned one can only observe that this term exists more for itself in its own 21 Cf. Mahavyutpatti 15. 22 For references vide Suttagame padhamo amso, Pupphabhikkhuna sampadio, Gurgao-Chavani (Purvapamjab) 1953, p. 316. 23 Suttagame p. 384, Viya hapannatti here under the name of Bhagavai. 24 Suttagame I p. 942, line 2, cf. P. Steinthal, Specimen der Nayadhammakaha, Dissertation, Leipzig 1881, p. 9, 8 8. 25 E. Leumann, Das Aupapatika-Sutra, Dissertation, Leipzig 1882, $ 16, p. 28 and 9 20, p. 33. The same text in Suttagame Vol. II p. 3.22, p. 5.29 under the title of Ovavaiyasuttam. Cf. Suttagame II p. 41.26 under Rayapasenaiyam. 26 However, the list of epithets given in Abhidhanacintamani I. 24, 25 does not agree with that of the above mentioned canonical references.

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52 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME specific weight, not included in a catalogue of terms and epithets. Let me quote some examples from the Uttarajjhayanasutta27 which is the first in the Mulasutta section of the svet. Jaina Canon. Utt. VIII. 9 reads as follows: pane ya naivaejja/se samiyaz8 tti vuccai ta7 | tao se pavayam kammam/nijjai udagam va thalao ||29 Translation: "He, who does not destroy living beings, a saint like that (tai) is called circumspect (samiya) 30, thereupon the evil karma is going away from him as water from the tableland." The meaning given for tai here would well suit the context. The semantic interrelationship between the two tai and tadTn is evident in our verse. The occurrence of tai in the context of this verse is of special importance as this sacred term occurs in a stanza, which is composed in the rare metre of the older rhythmic movement of the arya. This older form of the arya is characteristic of the older layers 27 E Editions at hand : Uttaradhyayanasutram, Samskrtacchayapadarthanvaya-mularthopetam, atmajnanaprakasika-Hindi-bhasatikasahitan ca. anuvadaka Jainamuni Sri Sri Sri 1008 upadhyaya Sri Atmaramji Maharaj, prakasaka Jaina Sastra mala karyalaya, Lahaur, Mahavirabda 2465 = Isavi sam 1939, Vol. I, Vol. II published Lahaur 1941, Vol. III Lahaur 1942, (abbr. : Atmaramji). When I paid a visit to His Holiness at Ludhiana/Panjab in July 1954 he graciously presented this monumental work to me. Jarl Charpentier, The Uttaradhyayanasutra edited, Upsala 1922. Suttagame Vol. II p. 977 beginning of Uttarajjhayanasuttam 28 This is how Atmaramji reads. Charpentier (94) and Suttagame II 987 read samii tti. This term designates a holy man who is concerned with the five samii : iriya-bhasesanadane uccare samii iya Utt. XXIV.2, cf. W. Schubring, Die Lehre der Jainas, Berlin und Leipzig 1935, SS 173. 29 The way how Atmaramji had this stanza printed shows that he recognized where the caesura falls. I am scanning : --1- --1-1- 1--10- |--! "-1deg- 1--1-1-1-"" -"1deg-1-11 This is exactly the older form of the arya metre which was discovered by H. Jacobi, ZDMG 38, p. 555 ff., it was again discussed by L. Alsdorf in his article on Itthiparinna, Indo-Iranian Journal Vol. II, 1958, Nr. 4, p. 252-53. 30 By translating "circumspect" I follow Jacobi's suggestion. Vide H. Jacobi, Gaina Sutras translated from Prakrit, Part II : The Uttaradhyayana Sutra, The Sutrakritanga Sutra, Oxford 1895 in The Sacred Books of the East, Vol. XLV, p. 33.

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'A SAINT LIKE THAT' AND A SAVIOUR' : 53 of the Jaina Siddhanta, while the common arya dominates in the younger strata of it. This shows that tai in the sense of a "saint like that" is already at home in the earliest layers of the Jaina Canon. In our verse tai is connected with a saint who is taking care of not doing any harm to living beings and-as a saint like that-he is taking everything into account of not hurting any living creature while. he is walking, talking, going on almsfood, receiving cloth etc, and observing nature's call. Even more striking the semantic interrelationship between tai and tadrn is expressed in the archaic solemn arya of Utt. VIII. 4: savvam gantham kalaham ca/vippajahe tahaviham (he) bhikkhu | savvesu kama-jaesu/pasamano na lippai tai || 31 Translation: "A monk of such qualities should abandon all bondage and contention. He, who sees [the bitter consequences] in all sorts of pleasures, a saint like that will not be stained [with the Karma]." Charpentier notes the Var. lect. tahdvihe before bhikkhu instead. of tahaviham. Both Atmaramji (I. 310) and Charpentier (93) prefer tahaviham. If we accept the reading tahavihe "of such qualities", we get an attributive adjective connected with bhikkhu "a monk of such. qualities", and gain the correspondent term of tal. The expression "a monk of such qualities" refers to the previous verse Utt. VIII. 3, to the qualifications of a munivaro like Kapila kevali, who is called. vigaya-moho and nana-damsana-samaggo and clearly bears upon tai the last word of this stanza. This correlation speaks strongly in favour of the old equation tai tadrn which appears to be still alive in this. = ancient verse. Atmaramji understands tai Skt. trdyi and he translates: atma 31 This stanza is also composed in the archaic rhythmic movement of the older arya. I am scanning: *|-~|~ ~ - | deg / - | ~ ~ - | ~ ~ ~|--|-| - | ~ ~ ~ | - - 1deg / -~ |- - | ~ -~ |-- |- || 32 Jacobi (33) translates: "All fetters (of the soul), and all hatred, everything of this kind, should a monk cast aside, he should not be attached to any pleasures examining them well and taking care of himself." 33 Sri Atmaramji Maharaj the late headmonk of the Sthanakvasi Svetambara Jainas resided at Ludhiana/Panjab. Due to his unequalled memory His Holiness had the strength to lay down his

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54 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME ka raksa karne vala =" He, who protects himself." By this translation Atmaramji and Jacobi closely follow Sri Santisuri-ji's (ca. 1100 A. D.) Commentary: tas trayate raksaty atmanam durgater iti trayi. Of course one may argue that he who realises the bitter consequences of worldly pleasures is on his guard. However, what the meaning of protecting himself" or "protecting his soul" is concerned a fixed terminology exists in the Jaina Siddhanta. Aya-raklchie in Utt. XV. 2 and aya-gutte34 represents what may be rendered by " protecting his soul (from bad karman)" in English. The existence of such a particular terminology makes it unlikely that tai means "protecting himself". Charpentier (307) does not share the Commentator's view: "I prefer to regard tai as identical with p. tadin = tadns "like that, such", a word that developed the meaning "like him " i. e. the Buddha and then " sanctified, holy". With regard to this viewpoint we may refer to Bapat's remark (251): (3) "In Pali texts, however, we invariably get the word tadi and there also it is used both in the sense of the "Buddha" or a "holy disciple like the Arhat". If one goes through the rich collection of materials presented in Bapat's article35 one sees that also in the Buddhistic sphere there was originally no such specific link with a Buddha or a Bodhisattva. An idea similar to that one expressed in Utt. VIII.4 has been put into words with regard to a tayi in the Buddh.-Skt. text Udanavarga XXIX.35 (Bernhard, p. 382) : gatadhvano visokasya vipramuktasya tayinah sarvagranthaprahinasya paridagho na vidyate Translation : "There is no burning distress to such a holy man, who has gone his way, who is free from sorrow, who has become liberated, who has abandoned all fetters." Pada c reminds us especially of the beginning of Utt. VIII.9. profound knowledge in his books with the assistance of his susisya Sri Jnanamuni, though his Holiness had lost physical eyesight. Besides the Utt. he edited Dasasruta-skandha-sutram, Lahaur 1936, and Anuyogadvarasutram, Agra 1931. 34 See L. Alsdorf, Uttarajjhaya Studies, Indo-Iranian Journal, Vol. VI, 1962-63, p. 117. 35 Bapat's article is referred to in n. 5 of this article.

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'A SAINT LIKE THAT' AND 'A SAVIOUR': 55 Both the verses are permeated with the same spirit: the abandonment of all bondage. This verse can also be traced in the Arahantavagga of the Pali Dhammapada VII.1 (90) (PTS edition, London, 1914, p. 13). The Pali version agrees word by word with the exception that there is not the corresponding tadino which we would expect, but sabbadhi. However, there are three more verses in the same Arahantavagga of the Dhammapada, in which tadi and tadino occur: Dhp. VII.5 (94), 6 (95), 7 (96). Let me quote Dhp. VII.6 (95) as the most instructive example : pathavi-samo na virujjhati inda-khilupamo tadi subbato | rahado va apeta-kaddamo samsara na bhavanti tadino || S. Radhakrishnan, The Dhammapada, (With Introductory Essays, Pali Text, English Translation and Notes) Oxford University Press 1958 translates p. 91: "Such a man who is tolerant like the earth, like a threshold; who does his duty, who is like a lake free from mud: to a man like that there is no circle of births and deaths." Radhakrishnan's comment hits upon the point with regard to the meaning of tadi when he says: " The similes suggest the imperturbability of the saint." Tadi correctly denoted as a saint is clearly differentiated from tadisa by a fine nuance in its meaning here. Tadi is a saint who is like that, of such qualities expounded in this verse. We arrive here at the same meaning already observed with reference to the Ardhamagadhi (AM) tai quoted in the two stanzas of Utt. VIII.9 and Utt. VIII.4. Pali tadi and corresponding Prakrit tai stand on a higher level than Pali Prakrit tadisa and tarisa, which simply means like that' or 'such a one'. The sacred term tadi has been chosen intentionally here and not the colourless word tadisa. The attentive reader who will compare other references of tadi in the Pali Canon will easily reach the same conclusion. In the Buddh.-Sanskrit circle the corresponding term tayin was maintained for the same reason, as tayin could differentiate itself conveniently from the profane tadrs. Another reason that tayin was not changed, though the meaning of trayin was assigned to it, is due to the changed outlook of later interpreters, who saw the Sanskrit root tay to protect' in it, as we have already noted in page 50. We "

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56 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME will, therefore, not hesitate to translate tadi, tayi and tai: 'a saint like that' or 'such a saint'. The quoted Dhp. verse (VII.6) has its counterpart in the Sanskrit Udanavarga XVII.12 (Bernhard, p. 237), which also contains a parallel wording printed by me in spaced words: prthivi-sadrso na lipyate tayi kilavad aprakampayah hrada iva hi vinita-kardamo niskalusa hi bhavanti panditah || Translation : "A Saint like that is not stained like the earth, he is like a [fixed] bolt not trembling, he is namely like a lake the mud of which has been removed, the respected wise men namely are free from impure things." Further references about tayin the reader will find in Uv. IV.7, XIX.2 already referred to, XXXII.1 Now let us turn to other passages in the Jaina Canon. Another reference to tai can be found in Utt. XI. 31 : samudda-gambhira-sama dur-asaya acakkiya kenai duppahamsiya | suyassa punna viulassa taino khavittu kamman gaim uttamam gaya ||36 Translation : "[The bahusruta], who are like the deep ocean, are difficult to be approached; they are fearless, they can hardly be hurt by anyone; full of rich knowledge are such holy men; after they have destroyed the karman they have reached the highest way (of final emancipation)." This beautifully composed verse sums up the bahu-ssuya-egarasam ajjhayanam together with the concluding verse 32 of this chapter. The meaning of taino rendered by 'such holy men' seems to fit better in the context, than the translation: 'and take care of themselves'37. Atmaramji38 comments upon taino : sat-kaya ka raksaka - palaka, 36 Cf. Atmaramji's text Utt. Vol. I, p. 465, and Charpentier p. 108. Metre is Vamsasthavali, the measured movement of which is correctly maintained throughout the four pada. Cf. V. Sh. Apte, Sanskrit Prosody, Metres with 12 Syllables in a quarter, (13) in both issues Poona 1890 and Poona 1959, Vol. III, Appendix A. 37 Vide Jacobi o. c., p. 49. 38 Utt. Vol. I, p. 465. The chaj-jiva-niya (niyaya, nikaya) are referred to in the Dasaveyaliyasutta IV (Suttagame p. 947) : pudhavi-kaiya,

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*A SAINT LIKE THAT' AND 'A SAVIOUR' : 57 and translates the corresponding passage : vistTta sruta jnana se paripurna aur sat-kaya ka raksaka hota hua bahu-sruta karmo ka ksaya karke uttama-gati - moksa ko prapta ho jata hai He understands tai here still in a wider sense of a guardian over the six kaya '38. I do not know which textual evidence has led him to this interpretation, which is repeated in his comment upon Utt. XXI.22 and Utt. XXIII.10. There are the two other occurrences : tai in Utt. XXI. 22 and tainam in Utt. XXIII.10. As these two verses do not bring anything fundamentally new, they are not dealt with here. There are a few other interesting references to tai in the Addaiji' ajjhayane, the sixth chapter in the second book of the Suyagada (Suy.) 39, which is the second Anga in the Jaina Svetambara Canon, following Ayare. We read in Suy. II.6,20 as follows: navam na kujja vihune puranam ciccamaim tai ya saha evam! eyavaya bambhavai tti vutta tass' oday'-atthi samane tti bemi || 40 Ardraka answers Gosala : " (Mahavira) will not accomplish41 a new (karman), he is shaking off the old one; having abandoned the wrong view, a saint like him (tai) promulgates the following: of such a kind is the way of holy life (leading to moksa), as it was said; he, who is desirous of the benefit 42 of it, is a sramana, so I say." adak, Jethmal Bh Sri Nathmalji's About the au-kaiya, teu-kaiya, vau-kaiya, vanassai-kaiya, tasa-kaiya. About the six kaya the reader should consult Sri Nathmalji Svami's book Jiva-Ajiva, sampadak: Jethmal Bhansali, prakasak : Sri Jaina Svetam bara Terapanthi sabha, Sri Umgaragash, pp. 14-23. This book, written in Hindi, is to be regarded as one of the best Introductions into the sacred Jaina terminolgy. Sri Nathmalji is a disciple of His Holiness Acarya Tulsi. 39 In the Ardriya-chapter the discussions of prince Ardraka with Gosala and others are related. I am quoting from Suttagame I, p. 172. 40 The metre is Upendravajra in pada a, and Indravajra in pada b, c, d. 41 The optatives of kujja and vihune are chosen for the sake of express ing himself respectfully. 42 As in the following verses metri causa odae is written instead of udae, I am treating pada d accordingly.

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58 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Jacobi (413) translates pada b: "and thus the saviour said to others'. Here Jacobi follows the traditional way of later Sanskrit Commentators, who understand tai=trayi. The interpretation 'a saint like him' suits the context better, insomuch as the way of conduct of Mahavira is ascertained in the preceding pada a and not his performance as a saviour. Both the interpretations of tai as 'a saviour' or as 'a saint like' may be challenged by somebody, who would prefer to connect tai with tyagi. He may point out that tyagi would go well together with cicca = tyaktva and with vihune in pada a. We have to admit that such an argument has to be considered. When we follow this way of reasoning, we should also take tayi for tyagi in the Buddh.Skt. text Udanavarga XIX.2, last pada : tayi sa sarvam prajahati duhkham || (Bernhard p. 256). That we cannot take tayi in this sense is proved by Tib. Ud. XIX.2, where Tib. skyob = Skt. trayi is inserted (V. H. Beckh p. 63), and no equivalent for tyagi! Our verse is the first of a complex of verses put into the mouth of Ardraka. The fourth verse (24) can be regarded as the continued exposition of this first one. As tai next to nai is also mentioned in verse 24 in a sense which is near to Skt. tadr (s), we will prefer to understand tai in this sense in verse 20 too and will not succumb to the temptation, to see tyagin in it. Suy. I1.6,24 reads : neganti-n'accantiya odae so vayanti te do vi gun'odayammi se odae sai-m-ananta-patte tam odayam sahai tai nai43 11 Ardraka continues : " This benefit (gained by the wicked people, described in the intermediate verses 21-23) [may be] big, but [it will not be] beyond limitations; [thus] they move in a twofold way with regard to their benefit; the benefit, that has a beginning, but no end, this very benefit a saint like him (Mahavira), the noble Jnats (Mahavira) promulgates (or : promotes, Skt. V.sadh)." In this verse tai and nai stand side by side. Nai is to be understood here in the sense of naya-putta = Mahavira as in the case of the Jaina Svetambara Dasaveyaliya-sutta VI. 21 : 43. In this verse pada a is Indravajra, pada b Upendravajra, pada c is also Indravajra, when we read se odae and not se udae in the beginning, as Suttagame does; pada d Upendravajra is restored, Suttagame p. 172,11 reads metrically wrong : tam udayam sahayai tai mai ||

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'A SAINT LIKE THAT' AND 'A SAVIOUR' : 59 na so pariggaho vutto, nayaputtena taina | muccha pariggaho vutto iha vuttam mahesinam || (Suttagame II, p. 961). In this sloka tai is linked with naya-putta (=Mahavira-Svami). It is, however, doubtful if tai is to be taken here as a particular epithet of Mahavira. It is more likely that tai here also is an attribute. denoting Bhagavan Mahavira as a "Saint like that ". Now let us turn to the concluding postulate of this chapter in Suy. II. 6, 55 (Suttagame I, p. 174) : Buddhassa anac imam samahim assim su-thicca ti-vihena tai tarium samuddam va maha-bhav'-ogham ayanavam dhammam udaharejja" || Translation: "[He, who has entered] into this contemplation according to the instruction of the Enlightened one, standing firm in it, is a saint like that in a threefold way, and who is of the disposition to cross the ocean-like immense flood of existence, he may expound the Dharma." We have to see this verse in connection with the verses 49 and 50 of this chapter, where those are condemned, who, being ignorant, teach the Dharma (verse 49), and those are praised, who teach the complete Dharma, being attached to samahi through the full kevala. knowledge (kevalenam punnena nanena samahijutta) and who save themselves and others, as such, who are saved (je u taranti appana param ca tinna) (verse 50). Special attention is to pay to the fact that tai is connected with ti-vihena in verse 55 quoted above. This is a term, which is closely linked with the fulfilment of the five Great Vows (maha-vvaya). So we read, for instance, in Ayare II. 15. 1025 (Suttagame p. 94): paccakkhami savvam panaivayam..javaj-jivae ti-viham ti-vihenam manasa vayasa kayasa45 "I will give up any kind of destroying living beings.. as long as life lasts in a threefold way by thought, word or deed." This will remind the reader of our first reference to tai in Utt. VIII. 9, where such a cautious saint (tai), who does not destroy living beings, is called circumspect (samiya). 44 The metre is Indravajra in pada a, b, d. The measured movement of pada e is unsettled. kayena vacaya uda 45 Cf. the parallel phrases in the Pali Canon cetasa and kayena vacaya manasa, vide PTSD.

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60 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME These two verses agree here in the same way of looking at tai, insomuch as they closely link it with the sacred Great Vows. Reviewing the six references about tai collected from the Jaina Svetambara Siddhanta 46 we may try to define tai as follows: "Such a (cautious) saint, who is under the strict observance of the five Great Vows, who has abandoned all fetters and who is standing firm in the absolutely absorbed thought (samahi) through the medium of kevala nana." In all these cases tai stands by itself not being used in a line as an epithet of Bhagavan Mahavira or of other Jina. In Suy. II. 6.20 and 24 tai also stands by itself and yet the close relation of tai and Bhagavan Mahavira is demonstrably evident here. In the Jaina Sanskrit texts, however, tayin is connected with Mahavira as an epithet. Theodor Zachariae, Beitrage zur Indischen Lexicographie, Berlin 1883, p. 76 quotes : Arhate Yoginathaya Mahaviraya Tayine, and : namah srimad-Anantaya Vitaragaya Tayine, from Mahendra's Commentary on Hemacandra's Anekarthasamgraha. In Sri Jinasenasuri's Harivamsapuranam47, composed in Sanskrit at about the 8th century A.D. we read the following Sloka : Astamasyendra-justasya Kartre Tirthasya Tayine Candraprabha-Jinendraya Namas Candrabha-kartaye || Translation : "Veneration to Him, who is the eighth [Tirtha kara], who is favoured by Indra, who is the actor, who is the ford, who is the guardian48, to Candraprabha, the Lord of the Jina, to him, whose glory is like the splendour of the moon." Here we will not hesitate to see the meaning of "guardian or saviour" in tayin, as this meaning is well attested by the contemporary Mahavyutpatti-lexicon, by the Sanskrit Commentators and by Hemacandracarya's Abhidhanacintamani (12th cent. A. D.). 46 There are many more references about tai in the AMg Canon. I may refer here only to the Sloka in Dasaveyaliyasutta VII. 67: Vibhusa-vattiyan c'eyam buddha mannanti tarisam savajja-bahulam c'eyam n'eyam taihim seviyam || 47 Prakasika: Manikyacandra-Jainagranthamala-samitih, Publisher : Nathuram Premi, Hirabag, Bambai, p. 2. 48 Var. lect. palakaya, o. c., p. 2, noted under the line.

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'A SAINT LIKE THAT' AND 'A SAVIOUR': 61 We have seen that the old correspondence tayin Pali tadi (n) = Sanskrit tady (6) has also left its traces in the Ardhamagadhi passages, which we consulted with regard to tai. Already here we were allowed to witness a tendency to change the meaning of tai understanding it in the sense of trayi "Saviour". It is interesting to observe that the semantic development of tai-tayi (n) 9 moved in the same direction in both the Jaina and the Bauddha circles towards trayi, due the to conditions which have been explained in this paper. The meaning of "Guardian or Saviour" was finally accepted by both the communities, because it also suited the general tendency towards divinization of the sacred terminology at a later period. With regard to the semantic development of tai-tayi towards trayi, the principle laid down by Paul Thieme has to be kept in mind: "For one thing, a new meaning is not substituted in the way a new sound is, by a single act, so that the substitute appears in all contexts equally: "a new meaning" is really only our abstract formula for the fact that a word is used in certain contexts in which it was not used before and does not appear in others in which it did. New and old usage patterns may exist side by side for a long time.50" To sum up our subject the following may be observed: In both the Communities of the Jaina and the Bauddha the sacred term tai on one side, tadi and tayi on the other exist to which the meaning 'a saint like that can be assigned. In this sense tai can already be traced in the earlier layers of the Ardhamagadhi Jaina Svetambara Siddhanta. In later times at about the 7th or 8th century A. D. the meaning of this term changed into Saviour, Protector' as an epithet of the Tathagata as well as of Mahavira and other Tirthankara. This became an established convention among both the Jaina and the Bauddha. The change of the meaning of tai into this particular 49 The reason for the fact, that the Jaina Commentators never set tai = tadrk will be, that it was simply impossible for a later interpreter to see tadrk in tai, after intervowel d had been dropped. Prakrit tai can only represent tapi or tyagi or trayi or tayi, but not tadrk. Skt. tadre is represented by Prakrit tarisa or rarer by tadisa only, vide. Sheth's PSM. R. Pischel, Grammatik der Prakrit-Sprachen, Strassburg 1900, 99 quotes tainam trayinam too. 50 Paul Thieme, The Comparative Method for Reconstruction in Linguistics, in Language in Culture and Society' by Dell Hymes, Harper & Row, Publishers, New York, Evanston and London, p. 591 (right column).

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62 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME direction was favoured by the fact that a Sanskrit root tay in the sense of trai 'to protect' offered itself. This is a semantic process which developed according to its innate law crossing the barriers of different communities and sections disclosing the common innermost coherence of them and the tendency of human thought towards a Saviour. Thu

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Nature of Time NAGIN J. SHAH "As s I see it, we are unlikely to reach any definite conclusions on these questions (Determinism vs. Freewill and the problem of causation) until we have a better understanding of the true nature of time" these are the words of Sir James Jean, a great scientist. How can it be possible for a person like me to determine the nature of time? So, my task here is to study what the great masters have said about the nature of time. While doing so I shall make a special attempt to explain the Jaina view at length. Western Views: In the West, Aristotle maintains that time is closely connected with continuous movement. Time is the measure of this continuous movement. In other words, time is a breaking up of continuous movement (numerus motus). Movement presents two features: (i) Movement is an uninterrupted progress of the subject from potentiality to actuality. Thus movement bears the characteristic of unity. (ii) Movement, on the other hand, is also virtually multiple. One can divide it into an indefinite number of parts. "Movement, then, subjected to a simple mental division becomes a number or a multitude." Thus time is looked upon as made up of two elements, the one formal namely number (numerus), and the other material namely movement (motus). The Mysterious Universe, p. 20.

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64 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME In other words, we may say that according to Aristotle time is motion that admits of numeration.2 In fact, concrete (not-abstracted, rather not subjected to mental division) time and movement are identical. Continuous movement does not at once appear under the formal aspect of temporal order. It has first to submit itself to a process of mental division. This mental division gives rise to the notion of succession. Nevertheless, this division is not a real one, but belongs to the mental order and makes no change in the objective reality of continuous movement. I would like to suggest the comparison of this view with the one held by Bergson. Descartes identified external reality with extension. Extension is not identical with any of the quantitative determinations like shape, size and figure. He, however, did not regard the quantitative differences of physical things as unreal. They are the modes of matter; they are due to the action of motion on matter. He thus came to admit the reality of motion. But for him who has identified external reality with extension it was logically impossible to derive it from external reality. So, he maintains that God originally imparted motion to matter. Motion implies change and time. So, he has to admit the reality of time. Since time, like motion, is out of place in his conceptual world view he had no option but to regard time also as a miracle, pointing to the agency of God. Time, according to him, is an infinite atomistic series of moments. Why was he led to this atomic view of time? "In his anxiety to show that God was the continuous support of the world of fiux, Descartes was driven to the atomic view of Time. He felt that if the future of the world depended solely on its antecedent state, there would be nothing for God to do, once the world had been created. Every moment Time seemed to annihilate the world; therefore, continuous creative intervention of God alone could guarantee the conformity of the future to the past." According to Spinoza there is only one eternal universal substance "God or Nature'. This substance possesses, among other infinite 2 History of Western Philosophy (Bertrand Russel), p. 229. 3 For details one may refer to A Manual of Modern Scholastic Philo sophy (Cardinal Mercier), Vol. I, pp. 145-150. 4 History of Philosophy : Eastern and Western (Radhakrishnan), Vol. II, p. 206. 5 Philosophy for Pleasure (Hector Hawton), p. 44.

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NATURE OF TIME: 65 attributes, extension. Attributes appear in specific ways or modes. Motion, according to him, is the mode of extension; since there can be no motion without extension. Logically we cannot deduce this mode. from the substance or extension. Hence it is unreal. He seems to have been influenced by the method of geometry. This is the reason why he maintains that things eternally follow from the substance(r); that causal relation is not temporal relation; that it is the relation between the constant and eternal things'. This rules out all change. and evolution and consequently makes time impossible, unwanted and unreal. Thus according to him temporal aspect of things is due to the modification of finite subjectivity. To reach truth means to escape this limitation and see things sub specie aeternitatis. In this sense time is unreal, it is the appearance which reflective knowledge eliminates. This trend could be traced back in Parmenides and Plato.8 Descertes and Spinoza accepted only one ultimate substance and hence they had to maintain that extension (space) is one of the attributes of the substance. Leibniz ruled out the possibility of this extension (space) by positing many atomic substances (monads) in place of one substance. Space and time, according to him, are confused ideas abstracted from our experience of things known. independently of space and time.10 According to Newton, sensuous time and space are unreal. There are absolute space and time which are not determined by their relation to anything external. Space is characterised by reversibility; time is characterised by irreversibility. In other words, through an act of will we might change our motion through space, yet on the other hand the flowing of time transcends our act of will. Moreover, Newton's this concept of absolute time makes possible the case of absolute simultaneity."1 For Kant space and time are neither confused perceptions nor absolutes. They are the necessary forms of perception. They are not realities or things existing for themselves, nor are they qualities or 6 A History of Philosophy (Thilly), pp. 324-326. A History of Modern Philosophy (Hoffding), p. 305. 8 Present Philosophical Tendencies (Perry), p. 250. 9 History of Philosophy: Eastern and Western (Radhakrishnan), pp. 215-216. 10 Ibid., p. 242. The Evolution of Scientific Thought (d'Abro), p. 72. G.J.V. 5

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66 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME relations belonging to things as such; they are forms or functions of We cannot think things without time, though we can think time without things; hence time is the necessary precondition of our perception of things, or of phenomenal world. Thus these forms are not derived from experience, they are a priori.12 Kant demonstrates that space and time are vitiated by 'antinomies'. This means that on the supposition of the reality of space and time, it is possible to prove, with equal cogency, several contradictory pairs of theses and countertheses; such as that space has boundaries and has not, time has beginning and has not, etc.13 Bradley traces back all these paradoxes to the fundamental paradox in term' and 'relation'. All relations are unreal as they involve infinite regress.14 According to him space and time are mere appearances and product of nescience, so to say.15 A. E. Taylor, a follower of Bradley, distinguishes between perceptual space and time on the one hand and conceptual space and time on the other. Perceptual space and time we have in perception; and they have reference to here and now. Conceptual space and time are constructed from the perceptual data. Neither of them is real. Perceptual space and time are unreal because they involve reference to the here and now of a finite experience '; conceptual space and time are unreal because they contain no principle of internal distinction, and are thus not individual '16 Time (duree) assumes fundamental importance in Bergson. Space and time are, according to him, diametrically opposite in nature. Space is static, while time (duree) is the principle of creative evolution. Real time, according to him, is duration and not the juxtaposition of discrete instants. Real time (duree reelle) is 'heterogeneous' and 'continuous'. The real temporal process is a multiplicity of 'interpenetration'. Real time flows in an indivisible continuity. This real time. we find in our experiences. It is Intellect that makes cuts in it, spatializes it and falsely represents it as a straight line with discrete moments as its points. Thus real time we cannot think, 'we must live it because life transcends intellect'.17 A History of Philosophy (Thilly), p. 421. Kant's first Critique (Cassirer), p. 267. 14 Appearance and Reality (Oxford, 1959), p. 18. 15 Ibid., p. 36. 12 13 Elements of Metaphysics (Taylor), pp. 243-255. Hundred Years of Philosophy (Passmore), pp. 106-107.

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NATURE OF TIME : 67 As against Bergson, Alexander maintains that space and time are so intimately interrelated that one cannot be understood without reference to the other. When viewed thus, the contradictions allegedly found in them would no longer remain. Space-Time, says Alexander, is the 'stuff' of which things are fashioned. This is interpreted in the sense that Space-Time is identical with Pure Motion. This again amounts to saying that a thing is a complex of motions. 18 A. N. Whitehead is a philosopher of change par excellence. He agrees with Bergson on the point that our experience is of duration and that instants are the abstractions made by science (i. e. intellect). But he differs from Bergson in not declaring that only duration is real and an instant' is a 'fiction' or 'convention' because he feels that in doing so one cuts all connections between experience and sciencewhich he is not prepared to do.19 Now let us see, in a general way, what Einstein has said about time. Wildon Carr writes : "The principle of relativity declares that there is no absolute magnitude, that there exists nothing whatever which can claim to be great or small in its own nature, also there is no absolute duration, nothing whatever which in its own nature is short or long. I co-ordinate my universe from my own standpoint of rest in a system of reference in relation to which all else is moving.... Space and Time are not containers nor are they contents but variants.'20 "The chief novelty of Einstein's theory is the conception of the relativity of simultaneity....If we grasp the relativity of simultaneity, there is little difficulty in seeing that the measurable physical duration (or elapsed time) of any event depends upon the velocity of the centre from which it is measured. ... The theory of relativity not only takes for granted the irrevocability of the past, that the status of events as past is unalterable but in making the velocity of light a maximum it makes vision or other communication with the past impossible. But it is at first surprising to learn that of two events in distant parts of space, one may precede the other in one physical system and follow it in the measurable determinations of another system that is moving relatively to the first. This seemingly paradoxical situation, that event A may as truly be said to precede B 18 19 20 Ibid., p. 274. Ibid., p. 341. The Principle of Relativity, p. 190.

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68 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME as to follow it, depending on the different referents, is limited by the finite velocity of light as a maximum'.21 Indian Views (except the Jaina): In the Samkhya-Yoga system one finds varied views expressed on the nature of time. Some maintain that time is altogether non-existent22; some declare that it is an evolute (parinamah prthagbhavah) of Primordial Matter (Prakrti) 23; some are of the opinion that Primordial Matter (Pradhana) itself is to be called time24; some expressly state that time is nothing but action.25 Some put forward the view that time is of two kinds-eternal (nitya) and fractional (khanda); that eternal time is no more than gunas of Prakrti; the tractional time, on the other hand, is produced from Ether (akasa) through various limiting adjuncts.26 Still some others hold that time is nothing over and above the objects spoken of as past, present and future.27 The view found in the Yogasutra of Patanjali is peculiar and explained clearly in the commentaries thereon. According to this view there is no time except moment. What is called time, rather duration, has no factual existence; it is only mental construction. Moment is real, duration is unreal. This has a striking similarity with the Buddhist view that moment is real, the continuum (santana) is unreal. Let us study this view in the words of Sir B. N. Seal. "Infinite time is a non-entity objectively considered, being only a construction of the understanding (buddhinirmana) based on the relation of antecedence and sequence, in which the members of the phenomenal series are intuited to stand to one another. These phenomenal changes as intuited by us in the empirical consciousness fall into a series, which 21 Reason and Nature (Cohen), pp. 234-236. 22 Samkhyatattvakaumudi on karika 33. 23 Mrgendravsttidipika, 10.14. 24 pradhAnavAde paJcaviMzatitattvebhyo bahirbhUtasya kAlatattvasyAbhAvAt pradhAnamevaM kAlazabdena vyavahiyatAm / Parasarasamhitabhasya, I. 20. 25 na kAlo nAma kazcit padArtho'sti / kiM tarhi ? kriyAsu kAlasaMjJA / Yuktidipika (Calcutta Sk. Series), p. 158. 26 nityau yo dikkAlI tAvAkAzaprakRtibhUtI prakRterguNavizeSAveva |......yau tu khaNDadikkAlau tau tattadupAdhisaMyogAd AkAzAdutpadyata ityrthH| Samkhyapravacanabhasya (Chowkhamba), p. 82. 27 kAlazca bhUtaM bhavad bhaviSyaditi vyavahiyamANapadArthavyatirekeNa na svatantro'sti / Vrttanta, Manasollasa on Stotra-verse, 41.

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NATURE OF TIME : 69 the understanding conceives as order in Time. The Time-series, then, is a schema of the understanding for representing the course of Evolution. The schema of the understanding supervenes on the phenomenal world as order in Time, and hence in the empirical consciousness the Time-series appears to have an objective reality, and to form a continuum. As there is an ultimate and irreducible unit of extensive quantity (parimana) in the Gunas or infinitesimal Reals of Prakrti, which are without constituent parts, so the moment may be conceived as the ultimate and irreducible unit of this Time-continuum as represented in the empirical cousciousness. A moment, therefore, cannot be thought of as containing any parts standing in the relation of antecedence and sequence. If change is represented by the Time-series, a moment as the unit of time may be supposed to represent the unit of change. Now all physical change may be reduced to the motion of atoms in space, and we may, therefore, define the moment as representing the ultimate unit of such change - viz., the instantaneous) transit of an atom (or rather a Tanmatra) from one point in space to the next succeeding point. Even an atom has constituent parts (the Tanmatras), and hence an atom must take more than one moment to change its position. The motion of that which is absolutely simple and without parts from one point in space to the next must be instantaneous, and conceived as the absolute unit of change and therefore of time, ksana). If this is held to be an irreducible absolute unit, it will follow that what we represent as the Time-continuum is really discrete. Time is of one dimension. Two moments cannot co-exist; neither does any series of moments exist in reality. Order in Time is nothing but the relation of antecedence and sequence, between the moment that is and the moment that just went before. But only one moment, the present, exists. The future and the past have no meaning apart from potential and sub-latent phenomena. One kind of transformation to which a thing is subject is that it changes from the potential to the actual, and from the actual to the sub-latent. This may be called the change of mark (laksanaparinama) as opposed to change of quality (dharmaparinama) and the change due to duration or lapse of time (avastha-parinama). The present is the mark of actuality, the future the mark of potentiality, and the past of sub-latency, in a phenomenon. Only one single moment is actual, and the whole universe evolves in that one single moment. The rest is but potential or sublatent. Vijnanabhiksu points out that this does not amount to a denial

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70 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME of Time. It means that Time has no real (or objective) existence apart from the moment'. But the latter is real being identical with the unit of change in phenomena (gunaparinamasya ksanatvavacanat). But even this is real only for our empirical (relative) consciousness (vyutthitadarsana), which intuits the relation of antecedence and sequence into the evolving Reals (Gunas), in the stage of "empirical intuition" (savicara nirvikalpaprajna). The "intellectual intuition" (nirvicara nirvikalpaprajna), on the other hand, apprehends the Reals as they are, without the imported empirical relations of Space, Time, and Causality."28 It is interesting to contrast this view with the one upheld by Bergson. According to this Samkhya view, the moment is real while the duration is mental construction. Bergson's view is quite opposite. There moment is unreal and duration is real. Moreover, duration of the Samkhya seems to be a series of discrete moments; there is no real interpenetration between a moment that is and a moment that just went before; that is, one does not melt' into the other, so to say. On the other hand in Bergson's duree moments are continuous forming one indivisible flow; its moments melt' into one another and form an organic whole. I feel that this Samkhya view of time is not in tune with their theory of change (parinamavada). They maintain that the states or moments of a particular thing are not discrete but continuous. According to this system, reality is neither a series of discrete momentary states (i. e. mere momentary modes) nor eternally static substance but persistence of an eternal substance through its various changing modes. So if they have declared unrelated solitary moment unreal and a continuous flow of moments one melting into the other real, their view on the nature of time would have fitted well with their theory of change. This view of theirs seems to have been influenced by the Buddhist view that merely objectmoments are real and the continuum (santana) of these discrete objectmoments is mental construction.29 Nyaya-Vaisesika View : According to this system, Time is a substance. It is one, eternal and all-pervading. It causes movement and change. All perceptible things are perceived as moving, changing, 28 The Positive Sciences of Ancient Hindus (Seal), pp. 19-21. This exposition is based on Vyasabhasya and Vijnanabhiksu's Vartika on III. 52. 29 Fara: yra ne failu ---Bodhicaryavatara (Ed. Vaidya), p. 158.

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NATURE OF TIME : 71 coming into being and passing away. They are produced and destroyed. There must be some Force or Power which thus brings them into existence and moves them all. The things themselves cannot do it. There must, therefore, be something which makes this movement, origination and destruction of things possible. It is this something, this Power or Force, which is Time. As it moves and changes things it gives rise to in the percipient the notions, with regard to those things, of past, present and future, of old and new. This Time substance, though itself static, is the source of all changes and motions. It is devoid of specific physical qualities like colour etc. Hence it is not emanable to perceptual cognition. Nor could it be an object of mental perception because mind cannot function independently of external sense-organ in the case of external things. Its existence is inferred from the facts of consecution and simultaneity between phenomena. Had there been no Time we would have no knowledge of consecution or simultaneity and there would be nothing to account for our time-notions associated with all change.30 Time being one unique substance, name given to it is a proper name and not a general term.31 When Time is divided in many different times, it is a metaphor.32 In other words, distinctions in time like a minute, an hour, a day and so on are apparent and due to certain conditions. Similar is the case with the division of Time into past, present and future. In accordance with the changes of things Time reveals itself as past, present and future. Time that is all-pervading partless substance appears as many in association with the changes related to it. These different times are mere representations produced by one single object only. They, being mere representations, are unable to give rise to a general concept.33 From all this it becomes clear that this system considers Time as all-embracing receptacle containing the entire universe. It is interesting to note Raghunatha Siromani's view. According to him the essential nature of time is Divinity and nothing distinct from Divinity (Isvara).34 Mimamsa View : The Bhattas mainly follow the Vaisesikas in this connection. The Bhattas too consider Time as a substance, all 30 Vaisesika Sutras II. ii. 6-9 with Upaskara and Vivrti thereon. 31 AkAzakAladizAmekaikasvAdaparajAtyabhAve pAribhASikyastisraH saMjJA bhavanti / --Prasastapadabhasya (Vizianagaram Ed.), p. 58. 32 27327...peaasta tagatart: 1 --Kandali (Vizianagaram Ed.), p. 66. 33 Piet Files farah rakyaiffes qe sa titfugttrall I-Ibid. p. 59. 34. Journal of The Indian Society of Oriental Art, Vol. XI (1943), p. 79,

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72 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME pervasive, eternal and devoid of physical qualities like colour etc.35 But as against the Vaisesikas they believe that Time is perceptible by all the six sense-organs.36 One would ask as to how that which is devoid of physical qualities could be perceived by all the six senses. Sastradipika solves the difficulty in the following manner. Time is not perceived independently by the senses; but along with the perception of various objects Time is also perceived as their qualification by all the senses.37 On the authority of Ramanujacarya we can say that the Prabhakaras accept the Vaisesika view of Time in toto.38 Advaita Vedanta View : According to this system Time is nothing but nescience (avidya).29 Buddhist View: At a very early stage of Buddhism when even the Pitakas were not compiled a view that there is one unitary immutable Time along with the conditioned empirical time was prevalent, writes AC. Narendradeva, among the Buddhists. He bases his inference on the fact that those early Buddhists accepted matter (rupa) only as impermanent and all other subtle elements like citta and vijnana as immutable. He further states that the conception of time as the cause of the production of impermanent things finds support in the early Buddhist literature 40 Mahavibhasa refers to a view that regards time as immutable and samskTta dharmas as impermanent. Moreover, according to this view time is a receptacle with three divisions--future, present and pastorganically continuous; samskrta dharmas move in this receptacle; they having come out of the future enter the present and having come out of the present enter the past. Later on the one immutable time seems to have been removed and there remained merely the three transitions' (adhvi). The Vaibhasikas think that all the three transitions-future, 35 presenfa fayasitaifa T TERTSIETI -Manameyodaya (Adyar Ed.), p. 191. BET ART HiFra: ......?YTHITI -Advaitasiddhi (Nirnaya. Ed.), p. 319. 33 : offset : 1 -Manameyodaya, p. 190. 37 kAlo na svAtaMtryeNendriyairgRhyate; atha ca viSayeSu sveSu gRhyamANeSu tadvizeSaNatayA sarvairapIndriyayate / --Sastradipika, 1. 1.5. 38 Tap:ETIA EFT FETITE a tarifs et ...... --Tantrarahasya (G.O.S., Baroda), p. 17. 39 errafada....... 1-Siddhantabindu (G.O.S., Poona), p. 96. 40 Bauddha-Dharma-Darsana (Ac. Narendradeva), pp. 574-75

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NATURE OF TIME : 73 past and present-exist. The distinction among them is based on the causal efficiency (karitra) of an element. Causal efficiency (karitra) is of two kinds-one that determines the general character of the remote fruit (phalaksepa) and the other that actually produces the fruit (phaladana). All the dharmas, when they are in a state of phalaksepa are termed present. The states prior and posterior to this state are devoid of phalaksepa-sakti. Prior non-existence of this power is termed future; and posterior non-existence of this power is termed past. The future and the past exist in the same sense as the present exists. All the three times, rather 'transitions', have the same nature always; merely their efficiency (karitra) differs. While discussing the doctrine of the existence of three times (adhva) it is said, in the Abhidharmakosa, that the future (effect) becomes present through desantarakarsana. In the Vaibhasika list of seventyfive dharmas Time finds no mention. But we may surmise that through the back door both the types of time-one unitary immutable and the other conditioned empiricalenter the Vaibhasika philosophy. One unitary immutable time is accepted under the name of Amota dhatu (=Nirvana dhatu). The empirical time is accepted in the guise of samskrta laksanas which together, like Vaisesika time, constitute the general cause of change.41 The Sautrantikas deny the objective reality of the samskrta laksanas viz. production etc. The notions of production etc., they say, refer not to a moment but to a series (of moments) which is a mental construction.42 Again, they believe in the present time only, while the other two divisions of time, namely, past and future, are regarded as non-existent. Neither the past nor the future exists.43 Even what is called present is nothing over and above an element (dharma). Hence here the moment becomes a synonym of an element.14 This is the reason why the author of Brahmavidyabharana writes as follows: In the opinion of the Buddhists Time does not exist. Ajar etc. which is perishable by nature in the very act of emerging becomes the basis for the assumption of moment (ksana). They assert that moment is nothing over and above the objects such as a jar. There is no independent time such as a ksana.45 The Da 41 Ibid., pp. 575-582. 42 Abhidharmakosabhasya, ii. 46 ab. 43 The Central Conception of Buddhism (Stcherbatsky), pp. 71-80. 44 Ibid., p. 36. 45 bauddhAnAM mate kSaNapadena ghaTAdireva padArtho vyavaDiyate, na tu tadatiriktaH kazcit kSaNo nAma kAlo'sti...kSaNikaH qurd xfet ERT STEFTER I II. 2.20.

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74 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Nagasena maintains that time is a product of ignorance. For the enlightened there is no time. In the Abhidhammatthasamgaho we find stated that time is a subjective element, the concept (kalapannatti) by which we in our internal intuition distinguish our first and foremost states; that it is the sine qua non of the succession of mental states. 46 The Madhyamikas maintain that even from the empirical point of view Time is unsubstantial. It is admittedly not an object of perception. They-past, present and future-appear to be existences due to our tendency to objectify concepts. It is impossible to conceive time either as a permanent immutable entity causing things or as an existent. The reasons given against the first view are as follows. It cannot be a cause. As the cause of the state of production (of a particular thing) is eternal, that state the thing will have eternally. Again, the thing whose cause is presumed immutable (Time) should really be uncaused or caused at random. It is so because a cause to produce an effect must transform itself into the effect and cease to exist. The arguments adduced against the second view are as follows. The divisions of Time into the Past, Present and Future are vital to its conception. The Present and the Future are what they are in relation to the Past; they should therefore exist in the past, for they are dependent on it. If so, they too would be included in the past, or the latter would be indistinguishable from the present and the future. If, to avoid this, it were held that the present and the future do not exist in the past, relative to what are they the present and the future? A non-relative present or future is not possible; and without distinctions, time too is unavailable. The same arguments may be urged, mutatis mutandis, with regard to the existence of the past or the present in the present and the future, etc. Time might be thought to exist in relation to things that change. But as changing things (bhava) are untenable, the reality of Time too is not established.47 Kamalasila shows the futility of time in the following manner. When the speaker addresses a person with the words 'this is prior', this is posterior' with reference to objects or events taking place successively a particular impression (abhoga) is formed in the mind of the latter. This impression gives rise to the knowledge that things thus referred to are prior or posterior. Thus temporal order being otherwise explainable time is not accepted by the Buddhists. Again, as 46 The Indian Historical Quarterly, Vol. IX (1933), p. 153. 47 The Central Philosophy of Buddhism (Murti), pp. 198-200.

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NATURE OF TIME : 75 Time is partless according to those who accept it as real, the concept of priority or posteriority is not applicable to it. If this priority or posteriority, as they say, primarily belongs to actions and objects, and only secondarily to time, then too, says Kamalasila, time is unnecessary.48 Grammarians' View : According to Patanjali, Time is the substratum of the world; it is an eternal (nitya), indivisible (akhanda), ruling (vibhu) principle (padartha). We cannot trace its origin. Nor can we divide it into parts. The principle by which trees, grass, creepers and other formal (murtimat) substances (dravya) are seen sometimes to grow, sometimes to decline is called Time. In short, change is due to Time.49 How partless Time possibly came to be divided ? Patanjali replies that although it knows no real differentiation yet through the difference of attributes, its differentiation is supposed (kalpana) as is also the case with all-pervading Ether (akasa). Fractionless unitary time, when all the forms of action (kriya) are associated with it, seems to take different shapes. Associated to a particular form of action Time becomes day; associated to another form of action it becomes night and so on. Associated to different motions of the sun, Time takes different shapes of day, night, etc.50 Bhartrhari considers Eternal Verbum or Logos as the Absolute. He maintains that this Absolute has the fundamental Power, Time. The notion of temporal order could not be accounted for without this Power. According to him, thus, Time is not an independent and supersensible substance. It is a Power of the Absolute. But it is to be noted that the Power and the Powerful are essentially identical.51 This Power has two aspects-pratibandha (also called jara) and abhyanujna (also called krama). The first is the preventive aspect and the second is the permissive aspect. But for the first there would result chaos, all actions or effects being simultaneous. Thus a seed, a sprout, a stem and a stalk--all would emerge and exist simultaneously. The second makes possible the projection of the sequenceless Absolute into phenomenal sequence of priority and posteriority.52 These two aspects, namely, pratibandha and abhyanujna correspond more or less 48 Tattvasangrahapanjika on karikas 629-630. 49 da CE70197724 7 14: 1-RENTE (Ed. Kielhorn), Vol. I, p. 409. 50 Ibid., Vol. I, p. 409. 51 Vakyapadiya (Banaras Sanskrit Series), I. 2. 52 kAlAsmApi bhAvAnAmAtmAnamanupravizya pratibandhAbhyanuzAbhyAM nimajjanonmajane kurvana kramaM paurvAparyalakSaNaM af Helaraja's comm. (Banaras Sk. Series), p. 357.

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76 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME to the two aspects, namely viksepa and avarana ascribed to Avidya by the later writers on Advaita. Time (kalasakti) is looked upon as the efficient cause (nimitta-karana) or the causal agent (prayojaka-karty) of the phenomenal world in its manifold phases of creation, preservation and dissolution.53 As Time, with the help of its two aspects, makes possible the temporal sequence in phenomenal world, we superimpose on the Time itself the temporal sequence. Succession or simultaneity are the attributes of actions or objects and not of Time but we superimpose them on Time because it is Time that presents actions or objects in succession or simultaneity:54 Again, though Time is unitary we wrongly describe it as manifold after having identified it with the actions and movement which it controls,55 Similarly, our description of Time as long or brief is not true. Though it is constant and changeless, it appears to be of greater or shorter duration according as the series of actions brought about by it is long drawn out or cut short.56 Moreover, Time, in reality, is not threefold-past, present and future. When an action ceases, Time is described as past, when it is about to happen, it is said to be future; and when it continues to flow on as a current, it is called present. Thus the distinctions into past. future and present naturally pertain to actions, while they are superimposed on Time.57 The two aspects pratibandha and abhyanujna are eternal.58 Hence they co-exist. Co-existence of these two mutually opposite aspects would give rise to the contingency of conflict between the two. The grammarians solve the difficulty by stating that there is a chronological co-existence yet there is a logical sequence between the two and cite a case of three gunas of Samkhya Praksti in their support.59 53 utpattau ca sthitI cApi vinAze cApi tadvatAm / nimittaM kAlamevAhurvibhaktanAtmanA sthitam // -Vakyapadiya, III. 9.3. 54 TA 7 Parafga: FA: FIC ART 7 at 7 H *4: 1-Helaraja's comm., p. 352. va irruf... 7 HARTUTI-Ibid., p. 353. 55 ... ca sa fanfaat aparaturfafcat... 1-Ibid., p. 344. 56 dUrAntikavyavasthAnamadhvAdhikaraNaM ythaa| cirakSipravyavasthAnaM kAlAdhikaraNaM tathA // -Vakyapadiya, III. 9.47. 57 kriyAnyuparame bhUtaH, sambhAvitAyAM kriyAyAM bhaviSyan , kSaNapravAharUpeNa vartamAnarUpAyAM tasyAM mukhya evAyam / -Helaraja's comm., p. 350. 58 ferrarRigat aferi TRT T I -Vakyapadiya, III. 9.30 59 Valyapadiya, III. 9.52 and Helaraja's comm., p. 361.

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NATURE OF TIME : 77 Astronomers' View : . The view that Time is nothing but action is ascribed to astronomers by some modern scholars. But it seems that it is not their view. If at all it is their view, it is not the view of all the astronomers but only of the few. The Suryasiddhanta states that Time is of two kinds--the one is rod-like indivisible and inflexible (akhandadandayamana) and without an end (aksayya), and the other is the one the nature of which is to measure (kalanatmaka). The partless rod-like Time is the cause of production, endurance and destruction of the changing world. The measurable Time can be demonstrated (nidrsya) and is an object of perception. This measurable Time is, again, of two kinds--tangible (murta) and intangible (amurta). The vital breath is taken as the unit of tangible Time. The time necessary in a healthy body for inspiration and expiration is called vital breath (prana). One vital breath takes about four seconds of the Western division of time). The time-atom', the truti', is the unit of intangible time. It is the 33,750th part of a second.61 Jaina View : In the Avasyaka Curni, three different views on the nature of time are referred to. Some say that time is a quality 62; some maintain that it is nothing but modes of the substance63; still some others opine that it is an independent substance (dravya) in addition to the five, namely, Jiva (Soul Substance), Pudgala (Matter Substance), Akasa (Ether Substance), Dharma and Adharma (Substances serving as the media of motion and inertia respectivly) 64. Out of these three views, the first is, to the best of my knowledge, neither referred to nor explained elsewhere in the whole of the Jaina literature. The last two views are considerably old and find mention in the Bhagavatisutra65. The www 60 qram #ra: 1 : 452TH: 1 # faut Saarama gaut il-Surya siddhanta (Kashi Sk. Series), sl. 10 and the comment thereon. 61 mifa: mat Rashik: 1-Ibid,, Si. 11. According to the commentator, Pt. Kapilesvara Chaudhary truti = 3240000 second. 62 ... gar:... --Avasyaka curni (Ratlam Ed.), 340. 63 ...gur Fient toata 455713... -Ibid, p. 340. 64 87491 ro o t I-Ibid., p. 341. 65 fenfica i saret for qarar? TIPHT i siar a aitar a for! * U I | ETI? TT! 3 CUET 1-qafut, fylls, arafruik, puggalasthikAe, jIvatthikAe, addhAsamaye ya /

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78 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Svetambara philosophers refer to both these views, though they favour either of them. Digambara thinkers state and explain their accepted view only according to which time is an independent substance. Now let us study the arguments put forward by the Svetam bara and the Digambara thinkers to establish time as an independent substance. (1) The existence of real time is established by the incessant minute imperceptible changes (vartana) that go on in the five substances; without it these changes would not take place as it is their auxiliary cause66. To give a concrete example, we might say that the stone under a potter's wheel assists in the movement of the wheel. The stone here does not impart motion to the wheel, but without this stone such a kind of motion would not have been possible. Similarly, time assists or works as an auxiliary cause in the changes produced in substances, though it does not work as a cause proper in their production67 (2) Jainas should accept Time as an independent substance. Though spiritual and material substances are regarded capable by nature to move and to rest, yet they have posited two independent substances Dharma and Adharma serving as the media or auxiliary cause of motion and inertia respectively. Similarly, though the five substances are by nature capable of transforming themselves into their proper modes some auxiliary or general cause like Time should be posited to help them in their transformations. Were they to reject Time as an independent substance, they have no right to posit Dharma and Adharma. The case of Time is on par with that of Dharma and Adharma 68 (3) Though all the causal conditions are there, the mango-tree, etc, do not bear fruits all at or.ce; this suggests that there is Time substance, with varied capacities, which the effects expect for their fruition69. (4) Time substance is a controlling prin 66 dharmAdInAM dravyANAM svaparyAyanivRttiM prati svAtmanaiva vartamAnAnAM bAyopagrahAdvinA taduttyabhAvAt tatpravartanopalakSitaH Falem fer fram ada mesta : -Sarvarthasiddhi. (Ed. Pt. Phulacandra), p. 291. 67 svakIyopAdAnarUpeNa svayameva pariNamamAnAnAM padArthAnAM kumbhakAracakrasyAdhastanazilAvat... padArthapariNateryat sahakAritvaM sA vartanA bhaNyate |...vrtnaalkssnn: kAlANudravyarUpo nizcayakAla: / -Dravyasamgrahavrtti on gatha 21. 68 tathA ca vartanAparyAyasya sAdhAraNApekSA na kathyate tadA tu sthityavagAhanApekSAsAdhAraNakAraNatvena dharmAdharmAstikAyau fast at TAGAPATE aranet I-Dravyanuyogatarkana (Nirnayasagar Ed.), p. 175. 69 cUtAdyAH zeSahetUnAM sattve'pi phalavaJcitAH / 497 arargieferuall Lokaprakasa, XXVIII. 48.

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NATURE OF TIME : 79 ciple. Without it temporal order could not be accounted for. Were it not an independent substance, all serial effects would take place simultaneously and thus there would ensue chaos instead of order.70 (5) Without Time substance, how can we have particular divisions of Time? Division implies something of which they are the division.71 (6) Simple uncompounded word 'time' presupposes an independent entity, namely, Time.72 (7) Activities like cooking etc. are conventionally referred to as 'cooking time' etc. But in this traditional usage of 'cooking time' and so on, the name of time is superimposed on activity. The term 'time' really signifies the existence of real time which is the basis of this conventional time.73 (8) Those who maintain that time is nothing but movement of the sun and other luminaries are not right. Mere movements of the sun and stars could not account for the changes in substances. Even in regard to movement we say 'it is past', 'it is present', it is future'. Movements require the assistance of Time. Without it they are impossible. Minute changes constituting movements could not be explained if Time were not posited as an independent real substance.74 (9) It is untenable to maintain that Space (akasa) can very well perform the function assigned to time. In other words, to reject time as an independent substance we cannot legitimately maintain that Space serves as an auxiliary cause of the minute changes (vartana) in the five substances. Space merely contains or gives room to the substance. It cannot be a causal condition of the minute changes in other substances, For instance, a pot can at the most support or contain the rice but it 70 asati hi niyAmakadravye kisalaya-kalikA-phalaprasavapariNatayaH sahakArataroryugapadAvirbhaveyuH, kramabhAvinI caiSAM phisalayAdipariNatirupalabhyate, tataH zakyamanumAtum-yadanurodhAdetAH kAryavyaktayastAratamyenAtmAtizayamAsAdayanti #577 sfars: --Siddhasenagani-Tika on Tattvarthasutra. IV. 15. 71 75 aterat al : 4164: The o tarazte R HIFIERI: Ef 11 -Lokaprakasa, XXVIII. 21. 72 yacchuddhapadavAcyaM tat sad ityanumiterapi / 403 toj carefa letei a farda il-Ibid., XXVIII. 20. 73 samayAdInAM kriyAvizeSANAM samayAdibhirnirvaya'mAnAnAM ca pAkAdInAM samayaH pAkaH' ityevamAdi svasaMzArUDhisadbhAve'pi 'samayaH kAla:' odanapAkaH kAlaH' iti adhyAropyamANa: kAlavyapadezastavyapadezanimittasya kAlasyAstitvaM far I Sarvarthasiddhi, p. 292. 74 syAdetat-AdityagatinimittA dravyANAM vartaneti; tanna; kiM kAraNam ? tadgatAvapi tatsadbhAvAt / saviturapi vrajyAyAM bhUtAdivyavahAraviSayabhUtAryA kriyetyevaM rUDhAyAM vartanAdarzanAt taddhetunA'nyena kAlena bhavitavyam / - Rajavartika (Ed. Pt. Mahendrakumar), p. 477.

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80 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME cannot cook the rice; for that we need fire.75 (10) Some might even argue that 'Existence' (Satta) itself can perform the function of time%3; and hence there is no need of positing an independent substance called Time. But this view is not sound. Minute imperceptible changes themselves constitute the nature of Existence'. So, how could it be viewed as an auxiliary cause of minute changes.76 (11) A theory is propounded by some that time is nothing but activity (kriya). Akalanka explains it as follows. Movement of an atom from one space point to the next space point is called an instant'. There is nothing like a minute Time over and above this movement to measure the span of this instant. The collection of these instantaneous activities is called avalika, the collection of these avalikas is called ucchvasa and so on. There is no entity called Time. In our every day usage we say 'he sits as long as the cows are milked'. Here the usage of time' is based on the activities. When one activity is circumscribed or limited by another activity, to the latter is applied the term 'time'. Thus time is nothing but activity.77 Akalanka refutes this view in the following manner. He admits that the usages like he did it within a wink of an eye', 'he did it within a breath' are no doubt based on activities. But he points out that our application of the term 'time' to activities of 'winking', ' breathing' etc. could not be without any ground whatsoever. Take an example of our application of the term ' dandi' ('staff-bearer') to Devadatta. This application of the dandi' to Devadatta could not be baseless. Its basis is the relation obtaining between danda (staff) and Devadatta. Similarly, we should maintain that there is something like Time which, being in relation with activity, makes possible our application of the term ' time' to activity.78 Moreover, 75 yathA bhAjanaM taNDulAnAmadhikaraNaM na tu tadeva pacati, tejaso hi sa vyApAraH, tathAkAzamapyAdityagatyAdivartanAyA madhikaraNaM na tu tadeva nivartayati / kAlasya hi sa vyaapaarH| -Ibid., p.477. 76 kAlAnugRhItavartanA hi satteti tato'pyanyena kAlena bhavitavyam / -Ibid., p. 477. 77 syAnmatam-kriyAmAtrameva kAla: |...srvo'yN kAlavyavahAraH kriyAkRtaH / kriyA hi kriyAntaraparicchinnA anya kriyAparicchede vartamAnA kAlAkhyA bhavati / yo'pi samayo nAma bhavadbhiracyate sa paramANuparivartanakriyAsamaya eva kAlasAmAnAdhikaraNyAt / na samayaparimANaparicchedako'nyaH tataH sUkSmataraH kazcidasti kAla: / tatsamayakriyAkalApa AvalikA, tatpracaya ucchavAsa ityAdi samayakriyAkalApaparicchinnA AvalikA ucchvAsaparicchede vartamAnA kaalaakhyaa| evamuttaratrApi yojyam | loke'pi tathaiva godohendhanapAkAdiranyo'nyaparicchede vartamAna: kAlAkhya iti kriyaiva kAla iti......| -Ibid. , p. 482. 78 satya kriyAkRta evAyaM vyavahAraH sarvaH-ucchvAsamAtreNa kRtaM muhUrtena kRtamiti, kintu samaya ucchvAso nizvAso muhUrta iti svasaMjJAbhirnirUdAnAM kAla ityabhidhAnamakasmAnna bhavati / yathA devadattasaMzayA nirUDhe piNDe daNDyabhidhAnamakasmAnna bhavati iti daNDasambandhasiddhiH tathA kaalsiddhirpi| -1bid., pp.482-483.

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NATURE OF TIME : 81 if we were to consider time as identical with activity, the contingency of the absence or non-existence of the present would ensue. How ? In connection with activity there are only two alternative states, namely, activity either done or undone. There is no third state in its connection, namely, activity neither done nor undone. Thus activity is devoid of its present and hence it cannot provide the basis for the usage of present. And past and future being relative to present, in the absence of present they too would be non-existent.79 It might be suggested that the collection of activities from the beginning of the effect to its completion is called present. But this stand is very weak. The activities being momentary, how could there be any possibility of their collection ?80 Again, if it were argued that time is not accepted independent of activities on the ground that it is not cognised as distinct from activities, Akalanka retorts that similar logic should be applied by the opponent to activities. When done so, even activities would suffer the same fate as that of time; they would be nothing over and above agents or substances as they are not cognised as distinct from them.81 The last argument adduced by Akalanka against this theory is that an activity cannot limit or measure another activity. Only persistent or perdurable thing can measure another such thing. But activity being momentary how can it measure another such activity ? Athing which itself is momentary can never measure another momentary thing.82 We have already stated that all the Digambara thinkers and a section of Svetambara thinkers upheld the view that time is an independent substance. But we should see whether there is any difference of opinion between the Digambara thinkers on the one hand and the concerned Svetam bara thinkers on the other. Scholars TTY 1 79 tasya vartamAnakAlAbhAvaH prasaktaH / katham ? Uyate paTa iti yaH prakSiptastantuH so'tikrAntaH, yaH prakSepsyate so'nAgata:, na ca tayorantare kAcidanyA anatikrAntA'nAgAminI kriyA'sti yA vartamAnatvena parigRhyeta / adheit a yotaratarasua Tha T ha: Part I -Ibid., p. 483. 80 eFarfazania: 19140141 ART for .......aquaght; Fit: ?......afuatat ai FHETHTE I -Ibid., p. 483. 81 yadi vyatirekeNAnupalabdhe: kAlo nAsti ityucyate; nanu kriyAyAH kriyAsamUhasya cAbhAvaH / kAraNAnAM hi safafasi: f , a ax: rafafaf til 34crud -Ibid., p. 483. 82 kiJca, kriyA kriyAntarasya paricchedikA kAlavyapadezabhAgityanupapannamanavasthAnAt / sthito hi loke prasthAdiH parimANavizeSaH brIhyAderavasthitasya paricchedako dRSTaH / na ca tathA kriyA'vasthitA asti kSaNamAtrAvalambanAbhyapagamAt / af haf4a: afraafruget afectge: - Ibid., p. 483. G.J.V. 6

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82 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME generally find differences between the two views.83 Let us see what is the real position.. According to the Digambara thinkers, time is atomic in nature. These time-atoms are innumerable. Each time-atom occupies one unit of universe space. They do not combine and form molecules ast do the atoms of matter. Nor do they constitute one single whole as the Medium of motion (Dharma), Medium of inertia (Adharma) and Space (Akasa). Though these time-atoms have no spatial extension (tiryakpracaya), they do have temporal extension or monodimensional order (urdhvapracaya). Only those substances that have spatial extension are termed astikaya. Hence, time is not counted among astikayas. Time-atoms are motionless and hence each of them for ever occupy the same unit of universe space (lokakasa). They are. eternal as they are atomic and do not form aggregates.87 Origination, persistence and decay in their case is explained through the origination, persistence and decay of other things." Sometimes it is said that they are eternal in the sense that they never give up their own nature and that origination and decay in their case is due to the rhythmic rise and fall of their agurulaghu guna (their special individual quality).89 Ac. Kundakunda maintains that the time-atom undergoes origination, Timepermanence and destruction at one and the same moment.90 atoms are devoid of physical qualities like colour, flavour etc. and in this sense only they are termed amurta.91 They are subtle and imperceptible. They go on assuming different modes all the while. The smallest mode of time-atom is termed samaya'. Each atom has 83 Darsana aur Cintana (Pt. Sukhlalji), p. 332. 84 loyAyapadese ikeke je TThiyA hu ikkekA / rayaNANaM rAsImiva te kAlANU asaMkhadavvANi // -- Dravyasangraha gatha, 22. 85 Sarvarthasiddhi, p. 312. 86... Ibid., p. 313 87 kAvyaNUna... kAyasthAbhAvaH ata eva vinAzadetutvAbhAvAnityAH Rajavartika, p. 482. 88 parapratyayotpAdavinAzasadbhAvAdanityAH Ibid. p. 482 89 zrI sAvat phAlasya svapratyartha svabhAvavyavasthAnAt / vyayodayI parapratyayI, agururUguNavRddhidAnyapekSayA -Sarvarthasiddhi, p. 312. egamhi santi samaye saMbhavaThidiNAsa saNidA atttthaa| samayassa samvakAlaM esa hi kAlANusambhAvo // 90 -Pravacanasara, II. 51. 91 sUcisUtramArgakA zabhidravat paricchinnamUrtitve'pi rUpAdiyogAbhAvAra amUrtaH / Rajavartika, p. 482. 92 Ibid., p. 501.

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NATURE OF TIME : 83 infinite such modes.93 Though other substances require time as an auxiliary cause in the emergence of their modes, time itself does not require any other substance as an auxiliary cause in the production of its modes. The Time substance according to the concerned Svetam bara thinkers is generally described as follows. Their Time substance is confined to the space inhabited by human beings (manusyaksetra). Though it is confined to this much space it works as an auxiliary cause of minute changes throughout the universe-space. Time performs its work with the help of the motion of heavenly luminaries. This motion is available in the human region only.94 A verse found in the Lokaprakasa95 gives scope to interpret this view as follows. Their Time substance pervades the whole universe-space. Hence it works as an auxiliary cause in the changes of the substances throughout the universe-space. But it is not manifested in various divisions or measures like samaya, avalika, muhurta, day, etc. everywhere in the whole of universe-space. It is manifested only in the human region. It is because it requires for its manifestation the motion of heavenly luminaries which is not available outside the human region. When interpreted thus this view becomes indentical, in so far as these points are concerned, with the Digambara view. Even Digambara thinkers maintain that manifestations or divisions of Time substance that are due to the motion of the sun are confined to human region only, because the motion of the sun is not available outside that region.96 On the other hand, the ground of these manifestations or modes (namely Time substance) as also its modes not dependent on the motion of the sun are there in the whole of the universe (loka). Generally scholars maintain that their Time substance is not atomic. But I am unable to find any positive support from the works of the concerned svetambara thinkers. On the contrary, Ac. Hemacandra, an eminent svetambara master, seems to embrace the Digambara 93 Darsana aur Cintana, pp. 332-333. 94 Ibid., p. 332. 95 ferg 475*ife arif2047 24271: 1 et a fan ni aligita: 9throaa!XXVIII. 19, Study the Tattvarthabhasya on sutra 'aria: 172737:1' (IV.5). Here it is: Ter ( RT) fahrt ufarului la fauna:... 96 evaM savituranusamayagatipracayApekSayA AvalikocchvAsa-prANa-stoka-lava-nAlikAmuhUrtAhorAtra-pakSa-mAsatvAyanA disavitRgatiparivartanakAlavartanayA vyavahArakAlo manuSyakSetra sambhavatItyucyate, tatra jyotiSAM gatipariNAmAt, na afe:, faqattformart safareiRajavartika, p. 482.

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84 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME view.97 And if Ac. Hemacandra's view is considered to be the view of those concerded Svetambara thinkers, there is no difference whatsoever between the two; as a matter of fact there are no two views; there is but one view only. It becomes clear from the above discussion that according to this view Time is of two kinds-Absolute (mukhya) and Relative or Conventional (vyavaharika). Usage or division of past, present and future is metaphorically or secondarily applicable to the Absolute Time while it is primarily applicable to the Relative Time.98 Again, they say that that which is the auxiliary cause of the minute imperceptible incessant changes (vartana) in the substances is the Absolute Time while that which is the auxiliary cause of the gross perceptible changes (parinama). the movement (kriya) and the temporal order (paratraparatva) is the Relative Time.99 They regard the manifestations or divisions or modes of Time made possible by solar motion as Relative Time. Even an activity might be considered by them as Relative Time when it itself being measured measures another activity.100 From all this we can deduce that these Jaina thinkers regarded Time sulbstance shorn of all its modes as Absolute Time and the modes of this substance as Relative Time. And we have already pointed out that even its modes are of two kinds--some dependent on solar motion and others independent of it. In this background their statement that the division of past, present and future is secondarily applicable to Absolute Time while it is primarily applicable to Relative Time becomes quite understandable. But when they say that Absolute Time is an auxiliary cause of minute imperceptible changes in the five substances and Relative Time is the causal condition of gross perceptible changes, movement and temporal sequence, there seems some difficulty and confusion. Do they mean to say that Absolute Time, without the help of its minute modes not dependent on solar motion, serves as an auxiliary cause of minute changes in other substances? If they really 97 fil-374. Trat: 47:1 2 Hagi fanta He: # 34a il-Vrtti on Yogasastra, I. 16. 98 77 Trio wataque situ:, 54981 e gau: 1 --- Rajavartika, p. 482. 99 syAnmatam-vartanAgrahaNamevAstu kAlAstitvakhyApanaM tadvikalpatvAt pariNAmAdInAmiti / tanna / kiM kAraNam ? kAladvaividhyapradarzanArthatvAt prapaJcasya / dvividha: kAla:-paramArthakAla: vyavahArarUpazceti / tatra paramArthakAla:.. qarur 34f14: I--Ibid., p. 482. 100 gada 3411634 gafa : rifegat : 1 -Ibid., p. 432

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NATURE OF TIME : 85 so, the Jaina view of Absolute Time becomes identical with the Vaisesika view with this much difference that Absolute Time, according to the Vaisesikas, is not atomic while it is atomic according to these Jaina thinkers. If it be said that it does take their help, those modes should not be classed as Relative Time because for Absolute Time the criterion laid down is to work as an auxiliary cause of minute changes in the five substances. And as a result Time substance with such modes and not the Time substance shorn of all its modes should be regarded as Absolute Time. But this would make possible the division of past, present and future primarily applicable to Absolute Time-which is not acceptable to these thinkers. Now our task is to understand their statement that Relative Time is the auxiliary cause of gross modifications, movements and temporal sequence. I feel that the Relative Time under discussion could be nothing but the minute unanalysable ultimate mode of Time substance. This mode is termed samaya. It is identical with an instant101 (also termed samaya) which is defined as the time taken by an atom to traverse a unit of space by a slow movement.102 And it is this instant which makes possible the gross modification, movement and temporal sequence in the following manner. Gross modification or change implies duration which is impossible without instants. Movement means existence of a body at different contiguous space points at different instants. This means that without instants even movement would become impossible. Dharma is regarded as an auxiliary cause of movement but not in the 101 Darsana aur Cintana, p. 333. 102 apradeza eva samayo...... ekaikamAkAzapradezamabhivyApya tasthuSaH pradezamAtrasya paramANostadabhivyAptamekamAkAzapradeza HEGETAT barua ya aft: 1-Amrtacandra's comm. on Pravacanasara, II. 46. See also Vrtti on Dravyasamgraha (Arrah Ed.), gathas 21-22. Compare: tatra paramasUkSmakriyasya saveMjaghanyagatipariNatasya paramANoH svAvagAhanakSetravyatikramakAla: samaya syal Bhasya on Tattvarthasutra, IV. 15. The Jainas maintain that as soon as the soul is liberated, it travels the whole universe and reaches the Abode of the Liberated within a samaya. Again they believe that the sound-atoms travel the whole universe within a samaya. Now, if they were to define a samaya (moment) in terms of movement of an atom from one space point to the next one, they cannot help qualifying this movement by the term slow' (jaghanya or manda). The Buddhists talk of the speedy motion (asugati) of an atom in this connection. The Yoga system refers simply to motion of an atom without any qualification slow or speedy (calitah paramanuh).

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86 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME same sense in which Relative Time is. Priority or posteriority of things would not be possible without an order or sequence in instants themselves. In this manner minute unanalysable modes of Time substance could be understood as an auxiliary cause of gross modification, movement and temporal sequence. The number of such minute modes every time-atom possesses is infinite (ananta). We have studied the view that Time is an independent substance. According to the other view Time is nothing but the modes of the five substances. In other words, time is identical with change and nothing over and above change. The minute changes, gross changes, movement, old state, new state, etc. are merely the modes of the five substances. And the Jainas, being the upholders of the theory of non-absolutism (Syadvada), believe that there obtains a relation of identity-cum-difference between a substance and its modes. In other words, according to them, modes are in a way identical with the substance. Hence the name 'substance' (dravya) is secondarily applied to them also. The statement, occurring in the Bhagavatisutra, that Jiva and Ajiva substances themselves are called Time means that the modes of these five substances are called Time; Time is nothing over and above these modes, 103 The alleged effects of Time, namely, usages like samaya, avalika, etc. and the states of being old and new etc. are nothing but particular movements or modes of the substances. For instance, the ultimate indivisible mode of any of the five substances constitutes the nature of samaya. A series of such innumerable modes is called avalika. A number of avalikas makes a muhurta. And thirty muhurtas form a night and a day. Out of the two modes of a substance one necessarily precedes the other; the preceding one is termed 'old' and the succeeding one is termed 'new'. Thus what is called samaya (instant) is an indivisible ultimate mode of any of the five substances. And what are called avalika, muhurta, day, night etc. are merely the names of intellectually constructed long and short series of the ultimate modes. Modification is an activity (of a substance) that goes on in 103 ke'pi jIvAdipayAMcA vartanAdayaH / kAlaM ityucyate tajjJaiH pRthag dravyaM tu nAstyasau // evaM ca dravyaparyAyA evAmI vartanAdayaH / sampannAH kAlazabdena vyapadezyA bhavanti ye // paryAyAca kathajit syurdravyAbhinnAstata te / dravyanAmnApi kathyante jAtu proktaM yadAgame // -Lokaprakasa, XXVIII. 5, 11 and 12.

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NATURE OF TIME : 87 cessantly without the help of any other substance (time). Thus substances transform themselves by themselves into their respective modes. An independent Time substance is not required to assist other substances in their transformation or change.104 In fact, I see no logic in positing Time as an independent substance. We can account for all the concerned usages with the help of the modes of the five substances. The argument that the case of Time is on par with Dharma and Adharma is not sound. Dharma and Adharma are, of course, posited to account for motion and inertia respectively. But motion and inertia of a substance are not eternal. Sometimes we find a substance in motion and sometimes we find it at rest. This suggests that there must be some condition of motion and inertia over and above the substance itself. And hence the Jainas posited Dharma and Adharma as conditions or media of motion and inertia. Those who posit Time as an independent substance do so to account for mainly the minute changes. But according to the Jainas such changes are eternal-without beginning and end. Hence it is illogical to posit a causal condition to account for it. What is eternal-beginningless and endless-has no cause whatsoever. Again, the argument that without Time the order of the world could not be explained; that in its absence, the seed, the sprout and the fruit would emerge simultaneously--is also very weak. The order of the universe is firmly based on the principle of causality. Time is superfluous. The description of Time as atomic seems metaphorical. Each and every material atom could be called time-atom. And this very well explains the scriptural statements regarding the absence of its spatial extension (apranesi).105 The conception of time-atom is vitiated by many contingencies. If Time is accepted as an independent substance why is it not conceived as one continuous whole like Dharma, Adharma and Akasa? Again, Time is posited to account for the minute changes in other substances, but what would account for the changes in Time substance itself ? If it be said that the modification of time-atom is natural and hence requires no other causal condition, the same logic should be applied to explain the modification of other substances. If some other auxiliary cause is posited to explain changes in time-atom, it would involve infinite regress. Hence, this view of an independent atomic Time substance seems to be very weak and unsound. 104 Darsana aur Cintana, pp. 331-332. 105 This point of criticism is found in the works of concerned Svetambara thinkers. See Dravyanuyogatarkana, X. 18-19.

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The Religious' Prayascittas according to the Old Jaina Ritual COLETTE CAILLAT ALL the religious communities of India have exhorted their people to "redeem" their offences, to "wash" their faults away so as to become "clean" and "purified". Whether Brahmanic, Buddhist or Jaina, the teachers who have elaborated the various atonements have been exposed to the same historical factors, have lived, broadly speaking, in the same social context. It is no wonder, then, that most of the principles on which 1 This paper is a summary of the conclusions which were reached in my book Les expiations dans le rituel ancien des religieux Jaina, Paris 1965, 239 pp. (Publications de l'Institut de Civilisation indienne, serie in-8, fascicule 25). I cannot, in the present essay, show what I have tried to emphasize there, that the Jaina community was constantly humane, that the atonements have been conceived, first and foremost, to help the penitent in every respect. The works which will be the most frequently referred to are : Vav; Nis= Vavahara- und Nisiha-sutta. Herausgegeben von Walther Schubring. Leipzig, 1918 (AKM XV1). The suttas are numbered in the present paper as in Drei Chedasutras des Jaina-Kanons - Ayaradasao, Vavahara, Nisiha - Bearbeitet von Walther Schubring. Mit einem Beitrag von Colette Caillat. Hamburg, 1966. Vyavaharasutra, edited with the Bh (asa) and Malayagiri's ? (ika),

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THE RELIGIOUS PRAYASCITTAS : 89 the theory of prayascitta is based are very similar in all Indian circles, -and, furthermore, that they are extremely close to many of the funda Bhavnagar, 1926, [1927], 1928. Note the following corespondance. between the sutta and the commentaries: T vibhaga I Vav udd. 1: 1-14 : Bh 1 gatha 1-288 II 15-35 : 289-429 III 1-334 udd. 2: IV udd. 3: IV (by mistake ? here noted IV) Nisitha-sutram. Edited with Bhasya and Curni, 4 vol., Agra 1957-1960. K = Das Kalpasutra. Die alte Sammlung jinistischer Monchsvorschriften. Einleitung, Text, Anmerkungen, ubersetzung, Glossar Jiya = Jiyakappa: ubring. Leipzig, 1905. gen, uberset Jiya = Jiyakappa; Jita = Jinabhadra's Jitakalpa, mit Auszugen aus Siddhasena's Curni, von Ernst Leumann (Sitzungsberichte der Koniglich Preussischen Akademie der Wissenschaften zu Berlin, 1892, pp. 1195-1210). Uvav (Uvavaiya-sutta) = Das Aupapatika Sutra. Erstes Upanga der Jaina. I. Theil. Einleitung, Text und Glossar. Von Dr. Ernst Leumann. Leipzig, 1883 (AKM VIII 2). Ayar. 1 (Ayaranga-sutta) = Acaranga-sutra. Erster Srutaskandha. Text, Analyse und Glossar von Walther Schubring. Leipzig, 1910 (AKM XII 4). Paksika-sutram. Edited with Yasodeva's commentary, Bombay, 1911 (DLJP). Pravacanasara = Nemicandra, Pravacanasaroddhara. 2 vol., Bombay, 1922-1926 (DLJP 58; 64). Samavayanga. Edited with Abhayadeva's vstti. Bombay, 1918 (Ag.S.). Thananga. Edited with Abhayadeva's vstti. Bombay, 1918-1920. Ag.S. 1, 2). Doctrine - Walther Schubring, The Doctrine of the Jainas. Described after the old Sources. Translated from the revised German Edition by Wolfgang Beurlen. Delhi, 1962. (References are to the paragraphs.) Walther Schubring, Worte Mahaviras. Kritische Ubersetzungen aus dem Kanon der Jaina. Gottingen, 1926 (Quellen der Religionsgeschichte 14; 17). Shantaram Bhalchandra Deo, Jaina Monastic Jurisprudence. Poona, 1960. Id. History of Jaina Monachism. From Inscriptions and Literature. Poona, 1956 (Deccan College Dissertation Series 17). WZKM = Wiener Zeitschrift fur die Kunde des Morgenlandes, Vienna. ZDMG = Zeitschrift der Deutschen Morgenlandischen Gesellschaft, Leipzig, Wiesbaden.

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90 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME mental tenets of the Arthasastra. But, though many comparisons could be traced, we must confess that many points still escape us. Therefore in the present state of knowledge, it has seemed best to study Jaina prayascitta from the Jaina point of view, and even, to begin with, mostly restricting the investigation to the Svetambaras' oldest doctrine. It is said to be based on religious tradition (suya, sruta), as opposed to custom (jiya,j ita); it is expressed in the Kappa-, Vavahara- and Nisiha-sutta, whereas jaya is embodied in the Jiya-kappa. Although the Nisiha is traditionally supposed to deal with the "abatement", "non-abatement" and "increase" of the so-called parihara atonement, the bulk of this treatise just quotes the faults that this very parihara is meant to redeem : 1952 cases are listed according to the proposed length of the penance : either one month or four months, each "heavy" or "light" (infra). The parihara is, indeed, a very ancient and important prayascitta. It is not mentioned elsewhere, except precisely in the Kappa and Vavahara, the oldest disciplinary books of the Canon : the reason may be that it grew obsolete very soon. But, thanks to the Nisiha-bhasa and -curni, to the Vavahara-bhasa and -tika, many interesting details about it have been handed down to us. It should be stressed that these commentaries generally deserve to be trusted, whatever their defects, and though important changes had taken place between their redaction and the teaching of the suttas : nevertheless, it has been convincingly shown that they have carefully preserved and transmitted the old tradition.3 THE JAINA COMMUNITY. Before studying the prayascittas, it will prove useful to remember the structure of the Jaina community. For the niggantha does not expiate haphazard, but only after having confessed his offence to his superior. The teacher, duly considering the monk's age, religious status, abilities, physical and moral strength, responsibility and, moreover, the circumstances of the fault, decides which is the right penance, instructs the man accordingly, and, very often, helps him in various ways so that the prayascitta, being correctly effected, may benefit the culprit. 2 Especially ad Vav 1, 17-20 = Nis 20, 17-20; ad Vav 1, 21-24; 2, 1-6; 27-30. Cf. G. Buhler, On the authenticity of the Jaina tradition; etc. WZKM 1, 1887, 165-180; 3, 1889, 233-240; etc. Cf. Schubring, Doctrine p. 49 ubi alia; E. Leumann, Dasavailcalika-sutra and -niryukti, ZDMG 46, 1892, 581-663, especially 592 ; Doctrine SS 43.

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THE RELIGIOUS' PRAYASCITTAS : 91 TL It is well-known that the Jaina samgha is divided into units called gana (later gaccha); small groups, collected around a famous acarya and his pupils, are known as kula. The monks who have been brought up in the same spiritual "families", or in the same "troups", who therefore have the same spiritual habits, and those who have been instructed at the feet of the same teachers are said to be "of the same party", ega pakkhiya (Vav 2, 26; VavBh 2, 325). The links between those who received the same education are undoubtedly the closer (cf. Bh T, ad Vav 2, 26).4 There have been discussions about the unit named sambhoga. Various opinions have been expressed concerning its attributions. Schubring stresses that the sambhogikas (amg. sambhoiya) conform to the same rules when begging or using the alms.5 More generally, it appears that they observe the same religious conduct (acara), and this is symbolized by the fact that they partake of the same meal, in one and the same "circle".. This is evident in the ritual of the vihar'alocana, which eventually takes place between the members of the sambhoga : those who have come to confess themselves eat with their "commensals", either before the confession if the offence is a small one, or after if the offence is quite heavy, and the culprit is liable to a sort of excommunication. The sambhoiyas are supposed to have the same tastes, and are sometimes called samanunna (Sk. samanojna).8 They are to be distinguished from monks "of another commensality", who, nevertheless show religious zeal (anyasambhogika samvigna) o and from those "with whom sambhoga has been broken", for example because their religious zeal is questionable (bhinnasambhogika amanojna asamvigna)10, and, finally, from the visambhogika (that is the parsvastha, etc. and samyati) who are altogether "excluded from commensality'll 4 This is not surprising : it has been often noted that the Indians are very tolerant concerning the dogma, J. A. Dubois, Moeurs, institutions et ceremonies des peuples de l'Inde I 278; Max Weber, The Religion of India 21; 117; 189; Gonda, Die Religionen Indiens I 351; etc. 5 Doctrine 139. Compare Deo, History 230 and n. 88. sarvais tapo-visesa-pratipanna-varjitaih sadhubhir ekatra mandalyam bhoktavyam, VavT IV 82 b-83 a; sam ekibhuya samana-samacaranam sadhunam bhojanam sambhogah, Samavaya 22 b 7; etc. 7 VavT II 17 b; infra. 8 VavT II 17 a 4; 17 b 3; etc. Cf. sambhogika sama-sukha-duhkha, Vav IV' 45 a 3. 9 Samay. 23 a 4; cf. infra. 10 VavT II 21 a 6. 11 Samav. 22 b 10 ff. Cf. infra.

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92 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME On twelve occasions, contacts between sambhogika and visambhogika are severely restricted.12 Moreover, it should be remembered that the corresponding verb, sambhunjittae is used, with sarvasittae "to cohabit", in the formula expressing the admission of a niggantha into a religious group.13 It is a well-known fact that units called sambhoga and saivasa existed in the Buddhist samgha too.14 But their function does not seem to be absolutely identical with that of the Jaina sambhoga. The fact remains that similarities can be traced. Moreover, in both communities, the heaviest prayascittas, characteristically enough, exclude the culprit from one or the other of these kinds of associations or "communions". 15 CLASSIFICATION OF THE RELIGIOUS. The monks who build the samgha bear different names in the different strata of the canonical literature. But, from a practical point of view, their various appellations, whether niggantha, bhikkhu, or samana niggantha, etc., can be considered as synonyms. 16 12 Samav. 21 b - 24 a = NisBh 2071 f.; cf. Abhidhana 7, 207 a - b. 13 Vav 6, 10 f.; 7, 1; 4 f.; cf. K 4, 4; 1, 35. The notion of sambhoga has been considerably elaborated among the Buddhists, cf. Paul Mus, Barabudur *264. The old Vinaya commentary distinguishes two sorts : sambhogo nama dve sambhoga amisa-sambhogo ca dhamma-sambhogo ca. amisa-sambhogo nama amisam deti va patiganhati va...dhamma-sambhogo nama uddisati va uddi sapeti va (Vin IV 137, 29 ff.). 15 Cf. the arrangements against the pataniya monk according to Abhidharmakosa (transl. La Vallee Poussin IV 96). Sk. nirgrantha, amg. niggantha and niyantha, pa. nigantha, etc. About these forms, Jacobi IA 9, 1880, 158 f.; K. R. Norman, JOIB 10, 1961, 349 f.; Vavt explains : nirgato granthad dravyatah suvarn'adi-rupat, bhavato mithyatv'adi-laksanad iti nirgranthah (IV' 27 b 6 f.). Cf. Uttarajjhaya 29, 31. As for the bhikkhu (bhiksu), his name etymologically may well mean "he who lives on alms", a "mendicant" (E. Burnouf, Introduction a l'histoire du buddhisme indien2 p. 245; V. S. Agrawala, India as known to Panini? 382 (ad Pan 3, 2, 168); cf. Schubring IA 39, 259: this fact is not ignored by Malayagiri (cf. bhiksi yacnayam, VavT II 1 b 11): nevertheless, it does not prevent him from establishing a relation between bhiksu and the root bhid-: bhavasya bhedako bhiksuh...., ibid., 5 b-6a. Compare, among the Buddhists, Abhidharmakosa, transl. La Vallee Poussin IV, p. 96 f. a l'ho Panini2 382 anored by it does not preve Whid-: this fact 16 11): nevesveen bhiksu anompare, among . f. ing a relation., ibid., 5 ballee Poussin

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THE RELIGIOUS' PRAYASCITTAS : 93 In view of the atonements and penances, the commentators have been led to distinguish between many categories and types of monks. Some of them (the jinakappiya, etc.) are "not concerned" with the gana, therefore are known as niravekkha (nirapeksa, infra), or, again, as gacchaniggaya, "outside the gaccha". Generally, monks do feel "concerned", thus rank as savekkha (sapeksa); it is expressly the case of the ayariya, uvajjhaya and bhikkhu (VavT III 48 b); the various teachers, "residing inside the gaccha" are said to be gacchavasi (ibid. IV 7b). This classification testifies to the fact that, during certain observances, the links between monk and gana have to be released. The jinakalpika must have succeedingly "accomplished the (religious) act", that is a 3 days fast: they are kTtakarana, whereas among the savekkha, some are krtakarana, some are not (ak.). Further, some bhiksus are "strong" (sthira), some are "weak" (asthira) devoid of firmness and resolution (asthire dhTty-avastambha-rahite, VavT III 11 b 7).17 An important distinction, in the Mahanisiha and the commentaries, (though it does not appear in the old canonical books) is that between agiyattha and giyattha or kadajogi : the last-mentioned is well versed in the treatises concerning the begging of food, clothes, and books, and in the cheya-sutta.18 The giyattha, or "adept", is sometimes considered as a "bull" (vasaha, vrsabha) 19, whereas the agiyattha is called a "deer" (miga, mrga).20 Moreover, some monks are recognized as "incompetent" (akovida), while others are competent" (vikovida), which means that these either are giyattha, or have already effected a prayascitta (in fact, probably a parihara), or again amend themselves at the smallest hint (VavT II 97 b 5 ff.) Even among the agiyatthas, some know how to assimilate the instructions, they "digest" them properly (parinamaka); some do not, 17 Cf. VavBh 1, 418; 420 = NisBh 6649; 6651; compare Vav PithBh 160. 18 kadajogi giyattho bhannai. Pind'esana Vattha-Pa'esana Cheya-suy'aiyam sutt'atthao ahiyani jena so giyattho (Jiyakappa cunni, ad Jiya 16 a. Leumann Jita p. 1203; cf. VavPithBh 109, T 38 a 10). 19 Cf. Deo, History 226. 20 VavBh 3, 264; 272; T IV 49 a 12; 58 a 9; III 42 a. Compare the name of the first Tirthamkara, Usabha, Rsabha, and the "leonine" lineage of Mahavira, sih'ubbhava-bhuenam appanenam, Ayar. 2, 15, 2, cf. Doctrine p. 24 n. 3. During the ritual of the confession, the acarya is simhanuga, the culprit monk is krostukanuga (VavT III 42 a). Compare, among the Buddhists, J. Przyluski, Le concile de Rajagrha 115; 239 etc.

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- 94 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME but fear that the prescribed penance be too small as compared with the theoretically incurred prayascitta (aparinamaka); again, some will go too far as regards the assimilation, and will misunderstand their judges' mercy (atiparinamaka).21 All these peculiarities are summarized in the following table : niravekkha savekkha they are gacchaniggaya (Cf. the superiors, who are gacchavasi) 3: jinakappiya parihariya (or parih.) ahalandiya 3 : ayariya uvajjhaya bhikkhu necessarily kayakarana either kayakarana or akayakarana either thira or a(t)thira or agiyattha either giyattha = kadajogi = vasaha = miga is normally parinamaka either parinamaka or aparinamaka or atiparinamaka is vikovida either vikovida or akovida The distinction between the gzyattha and agiyattha is particularly important. It helps to decide which penances are right for which individuals, and, on the other hand, it is taken into account when choosing the chiefs of the community and of its various units. THE NIRAVEKKHAS. As for the gacchaniggayas, or niravekkhas, three classes are mentioned, in the following order : the jinakalpika (jinakappiya), the pariharavisuddhika or suddhapariharika (cf. amg. pariharakappa-tthiya or parihariya), the yathalanda (-pratima) kalpika (ahalandiya). The parihariya's status will be defined along with the atonement called parihara (infra). The jinakappiya follows the 'rule of the Jina" (jinakappa). Unlike 21 VavT II 58 b 6 f.

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THE RELIGIOUS' PRAYASCITTAS : 95 the monk "of the rule of the theras," who, normally, is not allowed to be alone, the jinakappiya goes about on his own, naked, without any belongings, steadily bearing all inconveniences, restricting his alms-begging in many ways (time, food, space) 22 As far as possible, he conforms to what has been Mahavira's practice, during the twelve years after his enlightenment, when he lived as a homeless ascetic.23 This solitude of the jinakappiya (which is so strictly forbidden to the therakappiya) can well be looked upon as an archaic feature. For many, it was well-nigh unbearable.24 There is no doubt that the yathalanda-pratima is archaic and quite obsolete. For the Pravacanasara 25 relates its disposals with due reserve : itthan tavad asmabhir vyakhyatam (174 a 4) ! The ahalandiyas observe various restrictions, especially as far as time is concerned26: they never beg in one and the same area for more than five days (ibid. 612 f.). Their status appears to be intermediary between that of the therakappiya and that of the jinakappiya. They live five together at the very most.27 Two degrees seem to be recognized according to their proficiency: some still need coaching, and therefore keep links with the gana, or rather with its ayariya, while others are absolutely free from all ties.28 The ahalandiya and the jinakappiya rank as attacinta (atmacintaka): not being hindered by any other task, they concentrate upon their own self: exerting themselves, they pursue a common aim, they try to gain delivery, pratipattu-kamah (VavT IV' 41 b 7). In the same manner, the parihariya is exhorted to be regardless of his fellows, and to devote himself to his own spiritual progress, att'attha-cintaga.29 In many respects, the atonement called parihara tends to impart the benefits of the jinakappa without altogether depriving the monk of the advantages of the therakappa which he normally follows. Just like the jinakalpa and the yathalandapratima, this obseryance is probably but a survival. In a sense, it looks like a sort of 22 Cf. K p. 47, quoting Abhayadeva; Jacobi, SBE 22, 57 n. 2; Schubring, Worte Mahaviras 100. 23 Cf. Ayar 1, 29 f.; 40 ff.; Schubring, Worte 115 ff. 24 Cf. infra. Compare, among the Buddhists, Majjhima Nikaya 1, 17 ff. 25 Gatha 611-628, p. 172 b - 176 a. 26 landam tu hoi kalo, Pravacana 611; cf. 612. 27 panc'eva hoi gaccho tesim ukkosa-parimanam, ibid. 613; cf. 173 a. 28 gacche pratibaddha apratibaddhasca, ibid. 173 a 14. 29 VayBh 1, 363. Cf. VavT III 30 b.

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96 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME compromise between the oldest and the new religious life, the latter. being cenobitical, and the former eremetical. Though there are some signs that the niravekkhas' ideal was not always very much appreciated, there is no doubt that they were very proficient monks: they had to live a particularly pure life.20 THE PARIHAVANTAS. On the contrary, the "proud" ones, parihavanta (paribhavant), lack religious zeal. Six types are recognized: the pasattha (paravastha), the ahachanda (yathachanda), the kusila (kusila), the osanna (avasanna), the nitiya or nicca, the samsatta (samsakta),31 They are opposed to those who anxiously strive for delivery. They are excluded from the sambhoga: bhinnasambhogiko 'manojfio 'samvignah (VavT II 21 a 6). It appears that they commonly transgress the rules concerning the alms and the bhikkhu's daily duties (avassaya).33 It is their conduct, then, that is not commendable. But in cases of emergency, they can be resorted to, they can prove quite useful for the community and its members, for they lack neither faith nor knowledge.24 THE PAYACCHITTAS. Like so many other religious communities, the Jainas hold that the atonements purify the culprit of the stain left by the fault; they extract the "dart" that the offence would have been; they help to acquire impeccability, true knowledge, and delivery.35 == They rank as the first among the six "internal austerities", abbhintara (y) a tava, whereas the "external austerities", bahira (y) a tava, mostly consist of various food-restrictions. Thus, "bahya-tapas is AAAAAA 30 It was apparently criticized in some cases, cf. VavT IV' 22 b 6 ff.; 62 a 4 ff. 31 paribhavantah paravasth'adayah, VavT II 28 a 2; parsvasth'adau ayatamane, Abhidhana 5, 659 b, s. v. parih.; dharmac cyuta, Samav. 23 a 12. 32 About the samvigga (sarvigna) or jayamana (yatamana), cf. VavT II 28 a 1; samvigna moksabhilasin, ibid. IV' 73 a 11; viharam icchanti, ibid. II 26 a 12. 33 Cf. VavBh 3, 165, and the relative T (summary in my Expiations 55 ff.); also the commentary of Nis 13, 42 ff. 34 Cf. Vav. 1, 35; VavBh 3, 212 f. 35 VavBh 1, 322 ff.; 2, 47; Uttar 29, 16, cf. SBE 45, 164 and n. 4. 36 Cf. Uvav 30, etc. 37 Uvav ibid.

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THE RELIGIOUS' PRAYASCITTAS : 97 virtually synonymous with fasting."38 Hence another meaning of tava, tavo, tapas, which, in the recent disciplinary books, is the name of the sixth payacchitta, that mainly consists of fasts : 39 it will be seen that it has replaced the older parihara. THEORETICAL REMARKS. Traditionally, ten atonements are listed: payacchittam tu dasaviham (Uttar 30, 31). They are quoted in a famous gatha: 40 aloyana 1 padikamane 2 misa 3 vivege 4 taha viussagge 5 tava 6 cheya 7 mula 8 anavatthaya 9 ya parancie 10 c'eva. This list is reproduced in many texts, though sometimes with sligh variants.41 The payacchittas, thus, are said to be : "the confession, repentance, mixed (or: both these), restitution, and collectedness; further : austerity, suppressing (part of), radical (suppressing of religious seniority), destitution, exclusion". Though some of these may be theoretical rather than real, it is noteworthy that the Digambaras too teach ten payacchittas which mostly correspond to those of the Svetambaras.42 It must be admitted that alterations took place early enough;43 but, for the present purpose, it will suffice to consider the oldest list, comprising ten items.44 The first two are often alluded to; the last four are mentioned only in the oldest books of discipline (the Kappa-, Vavahara- and Nisihasutta),45 which, on the other hand, give instructions about the fifth, but ignore the third and the fourth. Some teachers contend that the ninth and tenth are to be taken together and counted as one expiation only; moreover, they expulse the first and second, retaining instead the third one that unites them both, and which, according to them, should be called "external" (bahya) to the other six.46 Thus, the Jainas were quite aware of the heterogeneous character of the atonements. The first five, it is true, are somewhat artificially forced into the above 38 R. Williams, Jaina Yoga 238. 39 ZDMG 60, 1906, 538; Doctrine 161. 40 VayPithBh 53; cf. K p. 12; Jita p. 1196 n. 1, ubi alia. 41 (tad-) ubhaya instead of misa, Uvav 30 I'; Jiya 4. 42 Mulacara 5, 164 f. 43 Cf. the list in the Tattvartha, comprising nine payacchittas. 44 Cf. S. B. Deo, Jaina Monastic Jurisprudence 40. 45 Cf. Doctrine 161. 46 VavPith? 36 a 12; Bh 100 b; 108 b. G.J.y. 7

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98 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME enumeration. But it should not be overlooked that the aloyana and padikkamana are the necessary preliminary to all expiations, and, moreover, that they are considered as very difficult observances indeed. The commentaries of the Vavahara's first lesson hold still another view, and consider the payacchittas 1-6 as related, not to the confession etc., but to penances lasting for 25, 20, 15, 10, 5 days, and these as related to various fasts.47 On the other hand, it should be kept in mind that the prescribed payacchitta must be proportionate not only with the fault, but with the culprit's religious rank, and abilities. Consequently, the weakest monks incur the lightest payacchitta, at least according to theory.48 Only the niravekkhas are supposed to redeem their offence absolutely, whereas, for the savekkhas, the eighth is the topmost expiation: it is enjoined solely in the case of the most advanced amongst them, the ayariya kayakarana. Hence the table of equivalences on p. 99. This table seems to be rather theoretical; has it ever been followed in actual practice? In that case some difficulties would have arisen. For, according to it, the parihara is prescribed even to the agitartha, while it is expressly stated elsewhere that this penance should be effected only by gitarthas (infra). Though the evolution of this observance escapes us, one point is certain : the payacchitta known as tava in Uvav, Jiya, etc., is listed in these treatises at exactly the same place where the VavBhT name the (parihara-) tava or tapas, corresponding to the parihara of the Vavaharasutta.49 This substitution of the tava for the old parihara is acknowledged in the Jiya and in the VavBh?.50 Apparently, monks still underwent food restrictions and fasts (which are common features of the parihara and the tava), and were exempted from isolation, which is 47 Compare VavPithBh 164 f. 48 Cf. K p. 12; VavBh 1, 422 f. (=NisBh 6 655; 6 657); Vavt III 49 a ff.; compare Manu 8, 337 f., Arthasastra 3, 10, 43. The actual practice may have been somewhat different (cf. Gonda, Die Religionen Indiens 1, 295); also A. L. Basham, The wonder that was India 120 f., with keen and sympathetic insight. 49 In the canonical formula se s'antara chee va parihare va, the order of the words is dictated by the rythm (cf. Wackernagel (-Debrun ner), Altindische Grammatik 2, 1 p. 166); etc. 50 Cf. Jiya 61; and Leumann p. 1205; VavBh 3, 180 and correspond ing T.

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Incurred prayascitta krta- akrtakarana karana mula cheda 6 months 4 1 1 bhinna g. 1. 15 guru guru laghu 20 days 10 guru laghu 5 g. ON ON ON ON 1. g. 1. g. 1. g. acarya Fast dasama astama mula cheda upadhyaya krtak. akrtak. gitartha sthira asthira bhik su sthira agitartha asthira krtak. akrtak. kertake. akrtak. krtak. akrtak. krtak. cheda 6 guru 6 guru 6 laghu 6 laghu 6 laghu 4 guru 4 laghu 4 laghu 1 guru or 4 guru 1 bhinna g. 1 bh. l. 20 days g. 15 akrtak. 10 5 ON ON ON AN acamla ekasana 1. g. l. g. g. 1. Fast dasama astama sastha caturtha purvardha nirvikrtika

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100 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME the specific disposal of the parihara.51 This change is not to be wondered at : for solitude had become terrifying in the eyes of the ordinary therakappiya monk;52 but consequently some discrepancies arose: according to theory, the parihara ranks as the sixth atonement, and is lighter than the eighth (mula); in actual practice, however, the VavBhT commonly advise the replacement of the parihara by milder penances, especially by the aforesaid mula. This does not alter the fact that the parihara had occupied a prominent position: the commentaries distinguish between the monk being in it (vattanta) and the monk having gone out of it (niggaya) and incurred a heavier expiation. It is the parihara that is prescribed first, rarely if ever the cheya or the mula. Indeed, it sometimes appears as if the parihara were thought of as the prayascitta : thus, when a pupil asks how many atonements there are, the answer is: their number is limited according to the sutra, meaning the Nisiha-sutta, which deals solely with the parihara occurrences.53 Moreover, when performing it, the monk imitates Mahavira: not only does he live "isolated" (though in his gana) : it is expressly stated that the observance should not exceed six months, the reason being that this was the duration of Mahavira's longest penances.54 THE VEYAVADIYA. The payacchitta washes away the stain left by the fault; however, it is necessary to eliminate what karman has been accumulated during the previous lives. This is effected by a complementary observance, the "service", veyavadiya or veyavacca (vaiyavrtya).55 The custom of vaiyavstya is not specifically Jaina: it is in use among the Buddhists56, and it is taught in the Brahmanical Dharmasutras, etc. Nevertheless, its consequences were bound to be much further-reaching in a well organized community. It is held to be very meritorious. And, if the monk is able to perform it together with the payacchitta, he is advised to do so;57 but it www 51 Cf. supra 8; infra 21; 24. Compare a similar evolution, followed by a rigorist reaction in the case of the ninth and tenth payacchittas, Jiya 91; 100; 102; and Leumann p. 1196. 52 Cf. VavT III 29 b 10; and infra. 53 VavT II 80 b - 81 a, cf. Bh 1, 223-226. 54 VavT II 53 a 11 f.; 79 b 11; 97 a 1; III 16 b 5, etc. 55 Cf. Vav 10, 35; Uttar 29, 43. 56 Cf. Vin I 46-49; IV 326, 1 f. 57 Cf. VavT III 4 a 2 f.

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THE RELIGIOUS' PRAYASCITTAS : 101 seems that most bhikkhus did not possess the necessary strength.58 In any case, the veyavaliya played a very important part in linking all the members of the samgha and gana together. While the teachers devoted much of their activity to the material and spiritual welfare of their pupils, these had to serve their masters. Moreover, it will appear that, in the course of the hardest payacchittas, some proficient monk and even the superiors were requested to do the penitent's service. On the other hand, the veyavadiya could prove prejudicial to the common monks' progress. Therefore, the teachers were advised to take all necessary measures so that the service would not exhaust the pupils or prevent them from proper study and meditation.59 Various provisions, however, point to the conclusion that veyavadiya soon ranked as one of the noblest observances.60 THE FIRST PAYACCHITTA (aloyana; alocana). The practice of confession was already established in India at the time when Buddha s and Mahavira's communities were developing. It has been stressed that the Brahmanical teachers considered it a very important observance, just like the heterodox did.61 But it seems to have been performed more systematically and perhaps more solemnly among the Bauddhas and Jainas than among the Hindus. On the other hand, the benefits acquired through confessing are very similar in the Buddhist and Jaina books. According to the latter, all faults should be quickly washed away by the adequate atonement; but this, in its turn, cannot succeed except after a correct diagnosis, which the aloyana alone can make possible. Hence, it must be true and honest. The difficulty of this undertaking is acknowledged : it needs fortitude, and, therefore, can be already looked upon as a kind of payacchitta (supra). Moreover, a good monk should express his regrets along with his fault.62 A stereotyped formula, which occurs in the canonical books, details the different stages on the path leading from confession to expiation. Even if the sequence is partly artificial, it shows that the 58 Cf. VavBh 1, 298. 59 As for the able niggantha, he could, in his turn, if necessary, resort to the niravekkhas' practice. 60 Cf. VavT III 8 b; 10 b-11 a. 61 Wilhelm Gampert, Die Suhnezeremonien in der Altindischen Rechtsliteratur 233. 62 Cf. VavT II 57 b 1; 59 a 4 f,

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102 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME process should not be solely a negative, but also a positive one. The monk should confess, repent, blame (his fault in front of his conscience), reprove it (in front of the guru), turn away and be cleansed of it, he should firmly resolve not to do it again, and, finally, perform the adequate payacchitta consisting in austerities : aloejja padikkamejja nindejja garahejja viuttejja visohejja akaranayae abbhutthejja aha'riham tavokammam payacchittam padivajjejja (Vav 1, 35; cf. 6, 10 f.; 7, 1; K 4, 25). Other canonical treatises insist on the benefits that can be derived from aloyana.63 The Vavahara 1, 35 teaches the correct procedure : when he has committed a fault, the bhikichu should address his confession to his religious superiors, the ayariya and the uvajjhaya; if they are absent, he turns to ordinary monks, preferably of his own,-or else of another sambhoga ; or even, if none of all these are present, to a layman who will have been asked to carry the religious paraphernalia, and thus will have been given the appearance of a monk (saruviyam); the sutta moreover mentions the pious sanctuaries (sammam-bhaviyain); if all these are wanting, the bhikkhu should stand in an isolated place and humbly confess to the Saints and Perfect Ones (arahantanam siddhanam antie). Because it is no easy task to confess, the superior must show the utmost kindness to the culprit and go out of his way to help him as far as he can.64 As for the monk, he should confess straightforwardly and confidently, like a child talking to his parents : jaha balo jampanto kajja-m-akajjam ca ujjuyam bhanai.65 To make sure that the confession is honest, the confessors have it repeated three times : 66 if the three accounts are identical, they are held to be true : 63 Uttar 29, 5; cf. Mahanisiha 1, 16; 31 f.; SS. 13. Compare VavBh 1, 134 = NisBh 6 391, according to which he who has confessed feels light, happy, etc. 64 Cf. VavT III 39 b 12 ff.; 40 b 2; IV 18 b 5 ff. Hence, nine qualities are required from the superior, VavBh 1, 337-338, ten qualities from the culprit, ibid. 339 b - 340 a. 65 Quoted ad VavBh 1, 133 = NisBh 6 392 = Ohanijj. 801; cf. Mahanisiha 1, 199 a. 66 In conformity with the technique of the sruta-vyavaharin as opposed to that of the agama-vyavaharin, who never errs, and therefore does not need the help of any stratagem.

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THE RELIGIOUS' PRAYASCITTAS : 103 ......aloyaventi te u tikkhutto saris'attham apaliunci visarisa parinamato kunci (VavBh 1, 137 = NisBh 6 395). According to VavBhT, there are three types of aloyana : (1) the vihar'a.; (2) the uvasampaya. (upasampad-a.); (3) the avarah'a. (aparudh'a.). The first one is that of the religious life, which is thus laid open : viharam..prakatayanti (VavT II 17 a 6); from the commentaries, we learn that it is the a. addressed by the monk to the superior of his own sambhoga. It takes place at regular intervals, and can be considered as the regular confession The other two occur in special circumstances. The second is that of the monk who, leaving his own gana, wishes to join another company, where he is asked to state his reasons for so doing; the third aloyana is that of an offence by a bhikkhu who has come from another gana for this very purpose. All three can be enunciated globally or point by point, oghena vibhagena ca.67 In fact, the global a. is not resorted to except in cases of emergency;68 othervise, it is allowed only in the vihar'aloyana, if the incurred atonement does not last more than 25 days.69 The length of the confession, the proper time for it, differ according to the type.70 Except for the detailed avarah'a., it does not matter whether the day is auspicious or not.71 The order according to which the offences are recalled is fixed : first the transgressions of the mulaguna, then of the uttaraguna etc.72 The commentators give further details about each of the three sorts of confessions. The sambhoiya monks who come in view of the vihar'aloyana should arrive when the residents have just begun their meal. Thus, they will take it all together, either after the confession if the aloyana is a global one that is in case the monks are liable to a 25 days atonement at the very most), or before the aloyana if it is detailed (the monks having incurred more than 25 days). 67 VavT II 17 b; Bh 1, 52; 62. 68 Cf. similar rules among the Buddhists, Vin 1, 112 f.; 168. 69 VavT II 21 a 9 f.; 11 f.; Bh 1, 52. 70 VavBh 1, 53 = NisBh 6 315. 71 VavBh 1, 54; T II 18 b. 72 Compare the Buddhist Vinaya 1, 112.

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104 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME It is addressed to the eldest (rainiya), or to the second eldest, or to a giyattha ; and it takes place, normally at the end of each fortnight, or after four months, or after a year, or after twelve years at the most.73 The uvasampayaloyana is a very elaborate ceremony.74 It is preceded by a sort of examination of the bhikkhu to make sure whether he is worth being admitted or readmitted into the gana. He cannot be received unless his reasons are pure, and he sincerely wishes to improve his knowledge, faith, conduct. Moreover, it must be checked whether his behaviour in the main is proper. If he is acknowledged to be faultless, he is granted admission, and tested during three days; he himself observes whether the conduct of the ayariya is satisfactory. If all are pleased, the candidate confesses his faults in the established order, 75 then bows to the superior, asking for advice, warning, and stimulus : aloyana me dinna, icchami sarana varana coyanam ti; the guru promises : ajjo amhe sarejja varejja soijja iti.76 The avarahaloyana is performed by a monk who has specially come from another gana to confess particular faults.77 This he must state as soon as he arrives, whether he be questioned or not.78 The superior will enquire about the reasons that lead him to leave his own troup, and will receive him or not according to his answer, just as in the uvasampayaloyana. Normally, this confession is a detailed one. The commentaries stress that it must be given in auspicious surroundings, days, etc.79 The superior and the bhikkhu should look towards the proper direction: the latter towards the East or the North, or the caranti (dik), that is the land where the Lord or any other great teacher has led or is leading his religious life.80 The acarya is seated looking towards the East, the other is on his right, facing the North; or again the acarya is turned to the North, the other is on the left, looking 73 VavBh 1, 51; T II 17 a - b. 74 VavBh 1, 61 - 119 = NisBh 6322-6376. 75 VavBh 1, 119= Nis Bh 6 376. 76 VavT 38 b 11 ff. 77 VavBh 1, 120 - 133 = NisBh 6 377 -6 390. 78 VavT II 39 a 5. 79 VavBh 1, 122-131 = NisBh 6 379 - 6 388. 80 caranti nama yasyam (disi) Bhagavan arhan viharati, samanyatah kevala-inani, etc., VavT II 42 a f.

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THE RELIGIOUS' PRAYASCITTAS : 105 towards the East or the caranti. The culprit bows, makes the anjali, squats in the utkutuka posture, and confesses, stating whether he sinned purposely or though he was paying due attention to the Rule.81 This ritual reminds one of the Hindu, and still more of the Buddhist ceremonial.82 The commentaries are very particular about the order of precedence. The usual hierarchy between the two men can still be manifested. But the superiority of the confessor over the man who confesses should be clear: this is only too natural, as the confessor, so to speak, symbolizes the Rule. Therefore, he must take his place on a higher seat. As for the man who confesses, he should, theoretically, keep the utkutuka position, which is the pure one, though others can b@ tolerated: yady utkutukah sann alocayati, tatah suddhih (VavT III 42 a 10). Transgressions of etiquette are minutely studied by VavBhT:83 they must be expiated along with the main offences. THE SECOND ATONEMENT (padikkamana, pratikramana). The spirit of this atonement is expressed in the formula tassa miccha me dukkadam," my fault is due to error" 84 It means that the believer will turn away from bad conduct, and resume a salutary behaviour : pratipam kramanam yad aha: "sva-sthanad yat param sthanam pramadasya vasad gatah, tatraiva kramanam bhuyah pratikramanam ucyate".85 It is sometimes considered as the fourth of the ten daily duties (avassaya).86 On the other hand, it seems that the padikkamana is strongly linked with the aloyana (supra); and it is noteworthy that there is no mention of an independent padikkamana ceremony neither in K (4, 25) nor in Vav (1, 35). The padikkamana-suttas consider either all the various faults taken together, or each category of fault individually.87 As far as time is concerned, padikkamana is said to be fivefold, for it takes place at five fixed moments or dates : in the evening to regret the day's faults, in the 81 VavBh 1, 133 = NisBh 6 390. 82 Cf. Kane, History of Dharmasastra 4, 85; Majjhima Nikaya 2, 248, 23 ff.; and Vin 1, 125 f. 83 VavBh 1, 400 - 410, a masterpiece of scholastic work! 84 Cf. VavT III 126 b 3: pratikramen mithya duskrtam tad-visaye dadyat. 85 Pravacana 39 a. 86 Cf. Doctrine 151. 87 Abhidhana 5, 271 ff.

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106 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME morning to regret those of the night; at the end of every fortnight, of four months, of the year. The ceremonial of the fortnightly repentance is known, thanks to a rather old text, the Pakkhiya-sutta,88 which has been commented upon by Yasodeva. It can be summarized following the Pakkhiya-cunni. The monks first complete their tasks. Then at sun-set, they recite the samaiya-sutta; they collect themselves, recalling all the faults they have committed during that day; they salute (namokkara), recite the hymn to the 24 Jinas, clean themselves, express the praise (kiikamma). They prostrate themselves, then stand up, and confess following the order of precedence. The guru prescribes the payacchitta. They accept it, keep good spiritual dispositions, and recite the padikkamana-sutta. Standing, the guru recites his part, then sits down. The monks bow down and ask for mercy. The guru answers, asking for mercy too.89 The monks enumerate their faults: the eldest should begin, turning first towards the youngest, and asking him for pardon for his various transgressions.90 The latter, prostrate, makes anjali, and in his turn asks for pardon. When all, the guru and the bhikkhus, have finished, they express the praise and proclaim that, after having regretted the faults of the day, they have regretted those committed during the fortnight. Then the guru exhorts to repent correctly : samman padikkamaha. After this, they should collect themselves, meditate upon the Law, recite sutras, the great Vows, Lord Mahavira's praise, the eulogium of religious Tradition and the homage to its teachers, servants, and divinity. Then, prostrate, they recite the five Graces (khamei).91 In the main, the daily repentance follows the same ceremonial, though it is slightly less solemn.92 According to the above account, the ceremony is evidently public. And the Pravacanasara states that padikkamana must take place in front 88 Cf. Doctrine 159; 55. 89 icchami khama-samano uvatthio mi abbhintara-pakkhiyam khameum. - aham avi khamemi tubbhe tti. The ritual is so established in order to inspire humility to every one present. 91 Doctrine 159. 92 Pravacanasara p. 39 a -40 b. 90

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THE RELIGIOUS' PRAYASCITTAS : 107 of the guru; nevertheless, if his teacher is away, the bhikkhu can perform it alone.93 It will have been noted that, while the aloyana ritual seems rather simple, the padikkamana looks much more elaborate. A similar feature can be traced in the Buddhists' ceremonial : when the monks have committed an offence, they confess it to the superior; and this confession is auricular. Then, at fixed dates, they meet in an assembly the purity of which is solemnly proclaimed.94 On the other hand, it should be remembered that, in Brahmanical circles, the practice of confession is very old, while it is only in later times that repentance came to be expressed.95 THE THIRD ATONEMENT (misa, misra, or (tad-) ubhaya). It combines aloyani and padikkamana. The peculiar features appear to be these : (1) the repentance is necessarily preceded by the confession, which must be addressed to the guru; (2) the padikkamana immediately follows aloyana, and the regrets are expressed strictly conforming to the guru's advices. 96 THE FOURTH ATONEMENT (viveya, viveka). It is but the restitution of alms which had been accepted, and which later on are found to be impure. The bhikkhu will be considered to be faultless if he gives them back conforming to the Rule (VavPithBh 109). THE FIFTH ATONEMENT (viussagga, vyutsarga; kaussagga). The kaussagga is constantly resorted to in the religious life. It is meant to procure detachment. Various postures help to attain this aim, especially that which is immortalized by the colossal statue of Bahubali at Sravana Belgola. It is emphasized at the end of the kayotsarga-sutra, when the bhikkhu proclaims : "I cast my body off by standing motionless, my self off by keeping silent and meditating", kayam thanenam monenam jhanena appana vosirami.97 In fact, this observance is supposed to have negative and positive results: (1) it destroys the sinful acts; (2) it helps to concentrate, to get rid of laziness, to conquer equanimity.98 93 Ibid., p. 39 b 10. 94 Cf. Raffaele Pettazzoni, La confessione dei peccati 1, 312 ff. 95 Gampert, Suhnezeremonien 234 f. 96 Cf. VavPithT 20 b 6 ff.; 37 a 2. 97 R. Williams, Jaina Yoga 213. 98 Ibid., 213; Vav PithBh 125.

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108 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME The length of the exercise is measured in "breaths" (ucchvasa); this unit is equal to the time needed to recite mentally the pada of a sloka, or a namaskara.99 The number of kayotsarga in such and such circumstances is fixed, and so is their duration; they increase when the occasions become more important and solemn. Thus, the religious collects himself before all his enterprises, and does so all the more when they are considered to be more and more difficult. THE SIXTH ATONEMENT (parihara; later replaced by tava, tavo, tapas). The parihara is the setting aside of the monk until he has finished redeeming his fault; he should keep away from those whose behaviour is pure : pariharo varjanam sadhor iti gamyate apanna pariharah tatha hi : sa prayascitti avisuddhatvad visuddha-caranaih sadhubhir yavat prayascittapratipattya na visuddho bhavati, tavat parihriyate.100 While performing this atonement, the bhikkhu has a special status, he is in the state of redeeming, nivvisamana-kappatthii.101 He is considered to be morally outside the troup, gaccha-niggaya, and is not concerned with his companions, niravekkha : he concentrates upon his own spiritual progress, and should strictly adhere to the Rule, att'atthacintaga102. The commentaries give many details about this prayascitta, the name of which they know perfectly well, though they often prefer to say tava, tapas. On the other hand, scholastics, besides this apannaparihara, recognize a suddhaparihara, "p. of the pure", or "pure p." : it is supposed to be either the practice of the Rule by a completely pure monk, or the pure practice.103 In fact, it is never met with in the K, Vav or Nisiha, and it appears as an easy escape for the commentators when the culprit is not proficient enough to be prescribed the real parihara. The commentaries propose it for all who would not be able to bear the parihara or would derive no benefit from it; the nuns, the agiyattha, 104 those who have no strength or vigour : suddhatavo ajjanan agiyatthe dubbale asanghayane (VavBh 1, 359a). woman 99 Cf. Doctrine 161; Williams, ibid., 215; VavPithBh 122; Jiya 22. 100 VavT II 11 a 9. 101 Cf. Doctrine 162. 102 Cf. VavBh 1, 363; supra. 103 VavT II 11 a. An other name is sodhi, cf. VavT IV 16 a. 104 agitarthatvena pariharatapo yogyataya abhavat VavT IV 16 a 5; cf. 17 b 3; passim. d .

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THE RELIGIOUS' PRAYASCITTAS : 109 Elsewhere, though, commentaries fix, as a substitute for the parihara, the eighth payacchitta, the "radical" suppression of seniority (mula, VavBh 1, 320 b; T III 11 b). Before prescribing the parihara, the guru must make sure that the penitent is physically, intellectually, spiritually, apt to perform it.105 The VavBh T state that it should be executed only during the rains, so that it may be milder : 106 gimhanam avanno, causu vi vasa'su denti ayariya (VavBh 2, 364 a). Moreover, the penitent should never be left alone : 107 he should stay in places where he can eventually get ready help, especially from another giyattha: thus, thanks to various disposals, this rigorous penance is softened in actual practice. The parihara is either "cumulated" (samcayita, sic!), or not (asamcayita). Though it can be further mitigated, the asamcayita parihara theoretically lasted as many months as the penalty that the religious has incurred. The samcayita parihara is prescribed when the culprit has, in fact, incurred more than six months atonement: from seven at the least to 180 at the most. They are reduced to six, which is the maximum of parihara according to Mahavira's Doctrine (VavT III 1 b). Each of these two types is "liable to abatement" or not (ugghaiya anugghaiya, -ima; (an) udghatika), or, as the commentaries prefer to say, is either "light", or "heavy" (la (g) hu; guru).108 The weight of the penance depends on two factors, time (kala) and austerities (tapas). 109 The samcayita is meant to redeem several offences at the same time. Its total duration is obtained after two operations, which are not detailed if the culprit is gitartha or vikovida, or even parinamaka. They are the sthapana (thavana) "carrying forward", and aropana (arovana) " addition". Taken together, these two operations constitute the samcaya 110 105 VavBh 1, 350 = NisBh 6 584; T III 28 b. 106 However, see Deo, History 155 for the commentaries of Viyah. and Than. 107 ekakinas ca satah pariharatapo na nirvahati, VavT IV 22 b 7 108 Doctrine 162. 109 VavT IV 25 b 2 ff.; K p. 14 n. 1. 110 Cf. VavT II 58 b.

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110 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Then, the parihara is set into "motion", or given (prasthapana, patthavana; dana, according to the Nisiha-cunni),111 The patthavand is said to be of two kinds,112 the drovand of five sorts; among the latter, the "complete" variety, kasina (krtsna) and the akasina appear to be the most important. In the case of akasind the total length is reduced, the "suppression" varying so that the remaining expiation be necessary and sufficient to purify the culprit.115 In the case of kasina there are no varying suppressions, but only fixed ones: fifteen days are suppressed at the beginning and five at the end of each month (cf. VavBh 1, 247). The commentators name six sorts of kasina (VavBh 1, 385 NisBh 6616); they give details about the fifth (anudghata-krtsna) which is complete without abatement ", and still more about the fourth, or anugraha-krtsna, "complete with remission". 66 The remission is granted when the culprit, at the time of confession, expresses his regrets ("ha dusthu krtam" ity adi), or when he is known to be weak.116 The mechanism is explained thus: suppose a monk has successively incurred two parihara of six months each: he will perform only six months altogether. Two cases occur: (1) six days of the six first months have already been performed: the remaining five months 24 days are suppressed; the second group of six months are theoretically prescribed, but in fact, six days are suppressed;117 (2) of the first group of six months, only six days remain to be performed. If a new fault, liable to six months is committed, these six months are theoretically inflicted, but in practice reduced to six days.118 If there is no remission, the arrangements are as follow: (1) the new fault occurs at the end of the six first days: the remaining five months 24 days are suppressed, while the six months 111 Quoted by Malayagiri VavT III 2 a 10; cf. Bh 1, 294 a. 112 VavBh 1, 412 a = NisBh 6 642 a. 113 VavBh 1, 413 NisBh 6 643. 114 jhosa, jhosa, jhosayati, eventually explained parityaga, parityajati, VavT III 11 a; 6 a-b. 115 VavT II 86 b 10 ff. 116 VavT III 37 b. 117 Ibid., 7 a-b. 118 Ibid., 7 a.

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THE RELIGIOUS' PRAYASCITTAS : 111 necessitated by the second offence are maintained. The total is six months six days.119 (2) the new fault occurs at the end of five months 24 days: the remaining six days are suppressed; the second group of six months is maintained. Thus, the total is twelve months less six days.120 The two arrangements that are characteristic of the parihara are apparently signified by the two formulae thavanijjam thavaitta and karanijjan veyavadiyam. Other observances (the "service", study, meditation, fasts) were performed at the same time, but they are not specific The parihara is summed up thus by Malayagiri : 121 the monk first recollects. The teacher, in front of the whole gana, proclaims the rank of the two nigganthas who will assist him. He publicly states which arrangements are to be taken (sthapaniyam..sthapayitva, VavTIII 26 a 1). Lastly, the commentaries record which "services" the penitent will receive from his tutor and from an aid (vaiyavstyan karaniyam, ibid. 2). After the preliminary examination of the niggantha by the guru, after the kayotsarga, and if the astrological conditions are auspicious, the parihara begins.122 Then the teacher says to the religious : kappatthito aham te, anuparihari ya esa te gito,123 "For you, I stand in the Rule..", meaning that, unlike the other religious, he is not to be avoided by the penitent. Though the formula thavanijjam thavaitta has sometimes been misunderstood, there is little doubt that it refers to the arrangements that morally exclude the monk from the society of his companions. 124 The guru sums them up at the beginning of the observance. He asks the other monks not to disturb the penitent who, on the other hand, will not speak to any of them either : esa tavam padivajjai, na kim ci alavati ma ya alavaha,125 119 Ibid., 7 a. 120 Ibid., 7 b. 121 Ibid., 25 b ff. 122 VavBh 1, 350 = NisBh 6 584; VavBh 1, 360; 361a = Nisbh 6 593 a. 123 VavBh 362 a = NisBh 6 594 a. 124 Cf. my discussion in Les Expiations 183 f. and in Drei Chedasutras, ad 1, 17. 125 VavBh 1, 363 a = Nis Bh 6 595 a.

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112 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Further, the teacher states which are the ten prohibitions restricting the exchanges between the parihariya and the pure nigganthas. They apply both to the penitent and to the others : alavana padipucchana pariyatt' utthana vandanaga matte padilehana samghadaga bhatta-ddanam sambhunjan, c'eva.126 Thus, the parihariya (1) will not talk to his companions, nor will they talk to him; (2) will ask them no question about the text or the sense of the sacred books; nor will they ask him; (3) will not study the Doctrine with them, nor they with him; (4) does not stand up in the usual circumstances as a sign of respect, nor do they; (5) does not salute, nor do they; (6) does not offer the various pots, nor do they; (7) does not inspect the baggage with the others, nor do they; (8) does not meet with the others, nor do they; (9) does not present anything to eat or drink, nor do they; (10) does not eat with them nor do they with him. All transgressions should of course be expiated. And it is noteworthy that the heavier atonements are prescribed for the transgressions of points 9 and 10, that is when the trespassers have taken no heed of the various restrictions concerning the exchanges of food and drink.127 This is not mere chance. Other provisions show the importance that was attached to food. At the end of the parihara, the monk and his companions are again allowed to talk to each other, etc. But they do not eat together before an extra period has elapsed1.8 (from five days to one month, proportionally to the length of the parihara). Moreover, it seems that, even during the parihara, the Elder can allow the penitent and the pure monks to meet and study together (Vav 1, 21); they may even for study-purposes be permitted to live together,--in which case they eat separately (ibid. 2, 27). On the contrary, they never partake of the same food, except in cases of extreme emergency : if the penitent is becoming exceedingly weak (Vav 2, 28; Bh 2, 371 f.; 374); or if there' is a famine or some sort of calamity in the country (Vav 2, 29 f.).129 126 VavBh 1, 364 = NisBh 2 881 = 6 596. 127 VavT III 31 a; IV 17 b; cf. the table in Expiations 185. 128 Vay 2, 27; cf. TIV 80 b alapan'adini sarvani loriyante, navaram ekam bhojanam ekatra varjyate. 129 About the importance of food, cf. Om Prakash, Foods and drinks in Ancient India, Introduction, etc.; Expiations 187, and n. 1, ubi alia.

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THE RELIGIOUS' PRAYASCITTAS: 113 The seclusion which is the specific feature of the parihara, has been very much feared, at least if we are to trust the commentaries. The weak are spared this, and for them mula (or suddhaparihara) is prescribed in its place.130 It even happens that the future parihariya so much fears this observance that he has a nervous breakdown (VavBh 2, 102 a) then the ganavaccheiya should comfort him. His loneliness is somewhat alleviated by the services of the regular" one (kalpasthita) 131 and of the "second" (anuparihariya, anupariharika): they do the "service" (karanijjam veyavadiyam:.. tabhyam kartavyam, Vav 1, 17 ff.; T III 34 a 1 f.). To serve means to praise or exhort, to criticize, to sustain : anusitthi uvalambhe uvaggahe c'eva... (VavBh 1, 374 b= NisBh 6605 b): the service can be either material (especially the uvaggaha), or more often spiritual.132 To the kalpasthita, the penitent can address salutations, confession, etc.; the parihariya can question him about the Doctrine; from him, he receives directions concerning the various abstinences.13 Thus, the kalpasthita sustains the monk in his spiritual progress (upagraha). As for the material help, it seems that he rather commits it to the anupariharika. On the other hand, he himself has to give the praise or exhortation (anusistih stuti-karanam va), and the criticism, that should always be benevolent (yat sanunayopadesa-danam esa upalambhah).134 The task of the anuparihariya is defined in VavBh 1, 368 (NisBh 2 885; 6 600) : utthijja nisiijja bhikkham hindejja bhandayam pehe kuviya piya bandhavassa va karei iyaro vi tusinio: The penitent who cannot stand up, sit down, go for alms, inspect his baggage, says: "I try to stand up.."; then the other helps him. But, while helping him, he should not speak a word. 130 yasmat suddhatapasi dasapy alapan'adini padani santi tena karanena tat tapah karkasamh na bhavati, VavT III 33 b 8. 131 Compare amg, kappaga, Vav 2, 2;4. 132 VavBh 1, 378 NisBh 6 610. 133 VavBh 1, 367 NisBh 2 884; 6 599. 134 Cf. VavT III 34 a. G.J.V. 8 =

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114 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME The reason why the anuparihariya should be a giyattha135 can be readily imagined: he must be sure to act according to the Rule,-and this, precisely, is the case of the "adept". Thus "sustaining" the penitent as far as caritra is concerned, the "second" discharges the superior of heavy tasks: he helps him to spare the necessary time for other duties, especially for teaching all pupils the jnana and darsana.136 THE SEVENTH AND EIGHTH ATONEMENTS (cheya, cheda; mula). While the commentaries give a detailed account of the parihara, they give little information concerning cheya and mula. Cheya consists in the partial suppression of the seniority; mula is its "radical" suppression. It is seldom that the canonical books prescribe no atonement before the cheya.137 Generally, K and Vav enjoin a "proportional cheya or parihara", se s'antara chee va parihare va.138 And the commentators deal with the cheya as if it were a substitute for the parihara, or an atonement meant to complete the latter. Its length is calculated like that of the parihara, which it continues or replaces, growing either every five days, or every month, every four months..139 Though the explanations given in VavT vary in the details, it seems a well-established custom to inflict a cheda only when new faults are committed after the prescription or the inception of the parihara: either after a samcayita parihara (first udghata, then anudghata),140 or after three asarhcayita parihara.141 All these rules seem rather theoretical. But there is probably not much to be added, except this: it may be that, at the same time, the religious was advised to study, particularly the Cheya-sutta, that is books dealing especially with discipline.142 135 VavBh 1, 362 NisBh 6594. About the qualifications of the giyattha, supra 6. 136 In the Buddhist community, no atonement is found which would. be identical with the Jaina parihara. But, in many respects, the paticchanna-parivasa can be compared with it (Cf. K p. 12). 137 However K 5, 5 does. 138 K 2, 4-7; Vav 1, 21; 22-24; 3, 2; 4, 11 f.; etc. 139 VavT III 11 a 5 f.; compare PithT 46 a 7 f. 140 VavT II 97 b 2 f. 141 Ibid., III 2 a-b. 142 Cf. Doctrine 51 f.

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THE RELIGIOUS' PRAYASCITTAS : 115 The mula is the eighth and the last atonement that can be prescribed for the Jaina monk living normally in a gana: rather, the acarya is the only one who is liable to this prayascitta (supra). His seniority is completely suppressed. He must begin his religious life afresh, from the vows onwards. But he is not made to observe any tapas.143 On the other hand, a list of those who should be prescribed the mula is given in VavBh 1, 320 : tav'atiya-m-asaddahae tava-balje c'eva hoi pariyage dubbala appariname atthira abahussue mular. They are : those who need more than the sixth (or seventh) expiation; who are not confident in the purificatory power of the sixth; or who bear it too easily; etc.; and those who having incurred the ninth or the tenth are not able to perform them succeedingly.144 On the whole, then, mula would appear to be used rather like a substitute : for the ninth and tenth atonements, from which the sapeksas are exempted; for the sixth and seventh when these would be too light; for the sixth if, on the contrary, it exceeds the strength and the maturity of the penitent. THE NINTH AND TENTH ATONEMENTS (anavatthaya, anavasthaya; paranciya, parancita). The ninth atonement is the anavatthaya (=anavasthaya; for anavatthavaya), "destitution". The tenth is known as the "last" in the commentaries : if it had a specific name, it did not come down to us; we only read of the penitent being paranciya (parancita), "excluded". These expiations are prescribed exclusively to the niravekkha religious (the jinakappiya, parihariya, ahalandiya), who have already proved that they are fit to live in solitude. Destitution is incurred by those who have robbed or cheated Jaina or non-Jaina religious people; or who have given a slap in the face (K 4,3 and Bh ad loc.). Exclusion is proclaimed against those who nourish bad feelings or thoughts, or are lazy, or addicted to homosexuality (K 4, 2); according to Than, to those who (1) break a kula (2) or a gana, (3) who favour violence, (4) because of whose defects violence progresses, or the right Doctrine can be obliterated, (5) or those who are inquisitive and ask unbecoming questions (300 a). Thus, the paranciya mo 143 Cf. the commentary ad K 4, 2-3. 144 Cf. T III 11 a - b.

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116 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME is blamed for his dispositions rather than for definite offences.145 Therefore, it seems that he should be excluded once for all. However the Vavahara teaches that he can be taken back into the gana and rehabilitated, just as the anavatthappa (2, 21 and 23; 19 and 22). The rehabilitation is operated by the ganavaccheiya, after due consideration of the penitent's behaviour, and of the gana's wishes. The anavatthaya performs tava after his reordination; the paranciya before it.146 The commentaries of Vav 2, 18-23 define the status of both these penitents together.147 They are excluded from the "circle" or ground where their gana is established: yavad anavasthapyam parancitam va vahati tavad bahih ksetrad avatisthate.148 Consequently,--and because he sinned, he is not a real ascetic, but only an apparent one, samyata-rupin.149 Moreover, the paranciya must leave the religious paraphernalia. 150 On the other hand, neither he nor the anavatthappa should behave like laymen.151 When begging, they observe restrictions quite similar to those of the jinakappiya.152 Though they are established outside the gana, they receive the daily visit of the ayariya, who enquires after their health, helps them in their study, and if necessary comforts them.153 If he is hindered, he sends them a delegate, either the uvajjhaya, or any giyattha : these should at once inform the penitent of the reasons why they have been asked to come; then they all keep silent, performing the superior's orders.154 If, notwithstanding these measures, the anavatthaya or paranciya grow exhausted, they are taken care of by the ganavaccheiya or by the ayariya (cf. Vav 2, 7-8). It will have been noted that in many respects, the two last atonements are cognate to the parihara. When the time for the religious's readmission into the gana has come, the penitents approach the teacher as if they were lay believers mm 145 Cf. Doctrine 162. 146 Commentaries of K 4, 2-3; Than. 147 VavT IV 52 a -58 a. 148 Ibid., 53 b 4; cf. 26 a 9. 149 Cf. VavT IV 56 a 1 ff.; cf. Bh 2, 249 f. 150 Thans 300 b. 151 VavT IV 53 b 5. 152 Ibid., 53 b 6. 153 VavBh 2, 239 f. 154 VavT IV 54 b; cf. supra : the anuparihari.

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THE RELIGIOUS' PRAYASCITTAS : 117 (gihi, Vav 2, 19; 21). This means that they must take care to behave perfectly according to the Rule. They will not bathe, but will wear fine clothes. Then they go to the assembly of bhikkhus, approach the superior and say: "Lord, I wish to hear the Law". The superior recites it. Then the penitent proclaims: "I believe in this righteous Law. Let me leave the world " 155 Though the ganavaccheiya is forbidden to receive the anavatthaya and paranciya into the gana if they do not come as lay believers, the gana may insist that they be rehabilitated : the ganavaccheiya then must comply with the gana's wishes (cf. jaha tassa ganassa pattiyam siya, Vav 2, 22 f.). Four cases are listed, when the penitents need not perform this preliminary ceremonial : (1) because of regard for the king, and because the community is grateful to the penitent for past services (VavBh 2, 243-254); (2) when an ayariya has suffered some prejudice in his gana (ibid. 2, 255); (3) because his people wants him and no other (ibid. 2, 258 f.); (4) if there is a controversy between two ganas the members of which are agiyattha (ibid. 2, 260 ff.). In the Digambara community, the two last atonements were called (9) parihara, (10) saddahana (Mulacara 5, 165; (10) sraddhana, Asadhara, Anagaradharmamota 7, 56). They differ in various details from the Svetambaras' anavasthaya' and carama. But the general aim is the same: to release the links between the penitent and his fellow monks, help him to behave correctly, so that he can concentrate on his own spiritual progress, and resume his previous good conduct after readmission into his gana. Meanwhile, he has been placed in conditions which should constantly remind him of Lord Mahavira's example. 155 VavBh 2, 233.

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Jaina Phraseology In The Bhagavadgita K. H. KAMDAR I HAVE observed the use of so much Jaina terminology in the course of my repeated perusal of the Bhagavadgita. An attempt is made in this contribution to bring out the salient parallelisms. I have avoided full recital of the verses of the Gita in the interest of economy of paper. Jainism has ordered the laity and the monks to observe five Aas (vows) which are classified as 3ta (minor) and Fy (major) according to the status of the observer. The first and the basic vow is that of abstaining from injury to a sentient being and is named prANAtipAtaviramaNam. Art or life is discussed in great details by Jaina writers. In verses 46, 47 and 48 of the first Discourse (2721) of the Gita we come across a conscious, though temporary, resort to this aquac by Arjuna, when he says to Sri Krsna that the Pandavas were being involved in the act of committing a great sin by preparing to kill their kith and kin in order that they might get royal pleasures. The grief is so overpowering that Arjuna would prefer being killed by the Kauravas in battle; he would prefer to die at their hands, without arms, without resistance, and in the act of dying he would feel happy. (3781aa etc., verse 45; y qAAF17 etc., verse 46; and 79T etc., verse 47). I have found the great ideal contained in the famous verse 69 of the second Discourse (AT PARTI HETTAT, etc.) literally described more than

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JAINA PHRASEOLOGY IN THE BHAGAVADGITA : 119 once in the Acaranga-Sutra, as shown by me in the magazine Jaina of Bhavnagar. The explanation for the parallelism is obvious. The consolidation of the Acaranga and other Sutras was done by learned Jaina monks who were originally Brahmins, well-versed in the Upanisads and the Brahma-Sutras. The date for the Acaranga-Sutra is 2nd or 3rd century before Christ, although it was collated in its present form in the 5th century A.D. The Gita uses the phrase TS in verse eleven of the second Discourse. This very phrase with a parallel meaning is read in the Acaranga-Sutra as pointed out by me in the Jaina magazine of Bhavnagar some time back. The use occurs in the Gita in verse eleven of the second Discourse where Sri Krsna rebukes Arjuna for giving expression to thoughts which were apparently prudent but which missed the deeper sense of wisdom. FETETT HIT etc. The reader should note the use of the plural in prajJAvAda.) The concept of 7 (Wheel) is very common to Jainism and Buddhism, the Asoka Cakra having been adopted by us as our national emblem. I read a reference to the same idea, although, I am afraid, its great significance has not been adequately brought out by critics The word . (Wheel) occurs in verse 16 of the third Discourse. The verse reads as evaM pravartitaM cakram etc. I may add that the word pravartita is eminently Jaina and Buddhistic. Jaina thinkers refer to eight kinds of Karma: jJAnAvaraNIya, darzanAvaraNIya, Ateith, TTTET, FIH, Tycy, etc. which cloud or obscure the soul's access to right knowledge (samyak jJAna), right faith (samyak darzana), right conduct (samyaka cAritra). The terms AvaraNa and mohana occur more than once in the Gita as applied to knowledge and conduct. I have not come across the use of the word ta meaning faith or &T, though there are several references to 961 (Faith) in the text of the Gita. The relevant verses are 38, 39, 40 of the third Discourse. Even the illustrations are the same as in Jaina philosophical literature. Sri Krsna says that true knowledge is wrapped up by Ignorance just as fiame is enveloped by smoke, as mirror is wrapped up by dirt, as embryo is wrapped up in aninion. The verses start as dhUmenAviyate etc., AvRtaM jJAnametena etc., etairvimohayatyeSa jJAnamAvRtya etc. The word mohana, which is the same as the Jaina use of mohanIya, is found in verse 8 of the fourteenth Discourse, and verse 39 of the eighteenth Discourse, wherein Sri Krsna observes that at deludes (HER) all beings (XIV, 8) and that happiness deludes the self in the begin

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120 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME ning and by succession (779ra) on account of Sleep, Indolence and Indifference (PHT). The word 8134Fin the verse is essentially Jaina. The concept of Bhavana is basic to Jainism and Buddhism. Haribhadra Suri has given an elaborate dissertation of the idea in his phare. The Gita refers to the concept several times as if it were expounding the Jaina creed! The homelessness of the Yati is referred to as also the 3TH Haat in verse 16 of the twelfth Discourse, as for instance, a person who is 277 , gereita, Fairyfrarft is dear to Sri Krsna. A terse dissertation is found of this kind of Bhavana in verse 20 of the fifth Discourse, where Sri Krsna observes 7 TERTE faci 427 etc. Srimad Rajacandra gives expression to the idea several times in his mokSamAlA. The other Bhavanas are #1644 (Sympathy) and it (Brotherhood). The two are conjointly mentioned in verse 13 of the twelth Discourse, which may be quoted full, as it strikes as eminently Jaina. Baer arai maitraH karuNa eva c| nirmamo nirahaMkAraH samaduHkhasukhaH kssmii|| The emphasis is mine. The concepts of it and (Brotherhood and Forgiveness) are repeated by Jainas on the last day of the Pajusana week. Vinoba Bhave persistently appeals to his readers to cultivate the same Bhavanas-maitrI and kAruNya. The fourth Bhavana is that of 7512-feeling happy over the good fortune of others. I have not found mention of THC in the Gita. The word TTT27 is peculiar to Jainism. So are 7 (Attachment), 9 (Spite), etc. which are Kasayas. The phrase Hairyfraroft is read in verse 25 of the fourteenth Discourse of the Gita. The words FT (Honour), 37941 (Insult), 40 (Fear), 78 (Anger), etc. occur times out of number in the Gita. The opposite of 371777 is ata1t727. Sri Krsna says in verse 12 of the fourteenth Discourse that 37TH or Undertaking of 9 (Action), as also Greed, Desire, Non-tranquillity (37TH) etc. generate from rajas. zama is jointly used by the Jainas with upazama (Tranquillity) and is contrasted with Destruction (epa). In verse 12 of the fourteenth Discourse the Gita describes the Hai 779frerit person as one who has discarded all undertakings, who is self-composed in the midst of honour and insult, who is equanimous to friend and foe, as if he is beyond all Gunas. The description fits in with the condition of a Yati-selfcontrolled monk, who is defined as one who is devoid of F1H (Desire), of #9 (Anger) and who has control of his at (mind), in verse 26 of

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JAINA PHRASEOLOGY IN THE BHAGAVADGITA : 121 the fifth Discourse, and in verse 11 of the eighth Discourse. The Yati must be absorbed in qyty-9814 which is a peculiar Jaina term. He must practise continence (agat) according to verse 8 of the eleventh Discourse. He is pure on account of knowledge and penance (verse 62 of the tenth Discourse). The Yati is also called because his intellect is self-composed (Festaat), according to verse 56 of the second Discourse The same idea is repeated in verse 5 of the eighteenth Discourse where the a must discard speech etc. The Gita uses in this verse the word i which is identical with Hemacandra's usage in his Yoga-Sastra. Of equal importance is the frequent use of the word of which is a familiar word in Jainism and the absence of which constitutes the fifth Ad of the Jainas. It is termed 379fe. The concept has been made familiar to the present generation by Gandhiji and after him by Vinoba Bhave. According to verse 53 of the eighteenth Discourse, the person who wants to be qualified for Brahman must abandon True which is rendered into English as covetousness by Babu Bhagvandas and Mrs. A. Besant, but which really means Property, Possession. The twin concept of Art and leg (Bondage and Release) SO familiar to every Jaina is referred to in verse 18 of the eighteenth Discourse where the person of pure Sattvika Intellect is in the position to know the essence of Bondage and Release. In verse 5 of the sixteenth Discourse dret is spoken of as forefat. It is the fruit of EFT (demoniacal) possession. According to Jainism both goes and 419 (Merit and Sin) lead to Bondage; even you (Merit) leads to 787 (Bondage). for merit must yield its own result which is always good. In verse 60 of the eighteenth Discourse, a surprisingly Jaina view is presented of OH (Action) which attaches to the soul by Nature-Fara Fag: Fala For. The Gita speaks of JH and 37-44 (good actions and bad actions) more than once. The secret ( J A) of release from 31349 (evil deed) is given by the Gita in the first verse of the ninth Discourse and in the 28th verse of the same Discourse, as for instance J4[3JH43t H r aua: (You will be free from the bondage of good and bad actions, etc.). Here we find reference to the ata (essence) of ASTI (shedding of F, good and bad), a word which I have not been able to find in my reading of the Gita. Arjuna confesses to realization of the Truth by him at the end of the Dialogue in the famous verse 73 of the last Discourse, ET RIE: fast etc. The word of here is opposed to HE (Delusion, Infatuation) and

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122 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME is almost identical with 8 (True knowledge) of the Jainas. Arjuna's (Delusion) disappeared and Truth was realized by him (d). Jaina canonical literature is profuse with dialogues between Mahavira and learned Brahmins like Gautama, Sudharma, etc. who were his chief disciples and Skanda etc. in the Bhagavati and other Sutras where the opponents are convinced of their Delusion and become. conscious of (a) a new conviction of true knowledge ( jJAna) - They accepted conversion from Mahavira who said: (as you please). The sutras describe them as aard (those who lived nearest to Mahavira). The word is upanisadic. Many of them immolated themselves on the Nipula summit at Rajagrha. In verse 58 of the second Discourse, the Gita gives the famous instance of the tortoise contracting itself in water, just as the man of (wisdom) withdraws his senses from all objects. The same illustration is found in the Uttaradhyayana Sutra. Merutungacarya has repeated several phrases of the Gita in his immortal Bhaktamara-Sutra, as for instance anff in the 9th verse of the eighth Discourse, as if in the 18th verse of the eleventh Discourse, also puruSaH purANaH vizvasya paraM nidhAnam in verse 38 of the same Discourse. Such illustrations can be multiplied. I have tried to bring out in this contribution the salient parallelisms between the phraseology of the Gita and Jainism. The parallels are easily explained. There was, in the age when the two literatures appeared on the scene of Indian thought, a common background for Jaina, Buddhistic and Brahmanical philosophical beliefs. Brahmins were the great co-ordinators of the rich culture of the age. In this adventure they borrowed freely from their rivals, the Jainas and the Buddhists, whose thought influenced the moral and ethical, as also the philosophical systems of the age. The culture was pre-eminently synthetic and elastic. It was tolerant. It could absorb successfully the best that was contained in the various systems. I might be permitted to make one observation. Words like , etc. have been defined and explained in various commentaries by Jainas, Buddhists and Upanisadic scholars. It is suggested that we made a comparative study of the commentaries. I am informed that a comparative study of the commentaries on Kalidasa's Meghaduta has been made recently in some Indian Universities. It is high time that similar effort be made in the direction of the study of commentaries of Jaina, Buddhistic and Brahmanical terminologies.

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JAINA PHRASEOLOGY IN THE BHAGAVADGITA : 123 Some time back the reformist Jaina monk, Muni Sri Santabala, wrote on Jaina thought in the Gita. My contribution strikes a different note. I have detected even semetism in the Gita as for instance, in verse 7 of the ninth Discourse : Huarat arta afat HIATA, I peretet punastAni kalpAdau visRjAmyaham / / A little known fact may be mentioned here. Al Beruni, the Arab traveller who visited India in about 1031 A. D. and who was a good Sanskritist, mentions in his Account of India some verses of the Bhagavadgita which are not found in the text now extant. I have referred in this brief article to some common terms bearing almost identical meanings in the Gita and the Jaina Sutras. A close study of Buddhist texts reveals the same identity. The late Prof. H. Jacobi was the first to point out the identity by citing the use of the term trea by the two sects, Jainas and Buddhists. This was done more than a generation ago. I was able to notice a repetition of the same experience in the last of the three lectures which were delivered in the last week of January, 1967, under the auspices of the M. S. University of Baroda by Prof. Prahlad Pradhan of the Utkal university, Bhuvaneshwar. The subjects of the three addresses were : (1) asaMga and mahAyAnasUtrAlaMkAra, (2) T agay and feutafa's commentary on it, and (3) 37f2HITTA1024. V * O AO *

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Ramagiri In Jaina Literature V. V. MIRASHI THE HE location of Ramagiri described in the Meghaduta of Kalidasa hast recently become a matter of keen controversy. Many years ago, while editing the Meghaduta, Prof. H. H. Wilson suggested that it might be identical with Ramtek, about 28 miles north of Nagpur, but beyond. stating that the hill was covered with buildings consecrated to Rama and was periodically visited by numerous pilgrims, he did not substantiate the identification with any evidence. Besides, his identification of Mala with Malda in the Bilaspur District of Madhya Pradesh, and of Amrakuta with the Amarakantak hill where the Narmada takes its rise, are not in accordance with the description of those places in the Meghaduta. Prof. K. B. Pathak accepted this identification of Ramagiri with Ramtek near Nagpur in his first edition of the Meghaduta but in his second edition of that work published in 1916 he proposed to identify the place with the Ramgarh hill in the Central Provinces as the place intended by the poet owing to its extreme proximity to 1 Kalidasa describes Mala as a table-land situated to the north of Ramagiri, while Malda in the Bilaspur district lies southeast of Ramtek. Amrakata cannot be Amarkantak; for the poet describes in the Meghaduta that the Cloud-messenger saw the Narmada after flying considerable distance from Amrakuta with great speed. (toyotsargatataragatistatparaM vas tIrNaH revAM drazyasi etc.) Amarkantak is, on the other hand, the source of the Narmada, I

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RAMAGIRI IN JAINA LITERATURE: 125 Amrakuta or Amarakantak, the source of the Narmada'. The argument advanced for this identification does not bear scrutiny as shown elsewhere. More than twenty years ago we proved the identification of Ramagiri with Ramtek in an article published in the Nagpur University Journal, No. IX, pp. 3 f. Recently the controversy has been revived by Shri V. K. Paranjpe of Poona, who, in his Marathi and English books on the subject, has reiterated the identification of Ramagiri with Ramgarh, first proposed by Prof. K. B. Pathak. We examined his arguments in several articles in Marathi and also in English and showed how they are extremely fallacious, based as they are on forced interpretations of Kalidasa's words and wrong identifications of some other places like Mala and Amrakuta. It is not intended to repeat the arguments in favour of Ramtek or those against Ramgarh, but to state what light is thrown on the problem by the evidence afforded by Jaina literature. The suggestion for the examination of this evidence was made to us by Prof. V. M. Kulkarni, Gujarat College, Ahmadabad, when he read the controversy on the problem and drew our attention to it some years ago. We propose to deal with the subject here. The first mention of Ramagiri in Jaina literature occurs in the Paumacariya (Sanskrit, Padmacarita) of Vimalasuri.5 The date of this work is not certain. If the statement in that Prakrit kavya (118, 103) could be believed, it was completed in the year 530 after the nirvana of the Tirthankara Mahavira. The date of the Tirthankara is not yet definitely proved. Some place his nirvana in 526 B. C. while Jacobi places it in 467 B. C. According to the former view the work was completed in A.D. 4, while according to the latter it was finished in A.D. 63. But the statement in the Paumacariya is not accepted by scholars. It is pointed out that according to a statement of Vimalasuri himself he was a disciple of Vijaya, who was himself a disciple of Rahu of the Naila-kula-vamsa. This vamia is usually 2 Studies in Indology, Vol. I, pp. 15 f. 3 See Samsodhana-muktavali, Part IV, pp. 18 f.; Meghadutantil Ramagiri arthat Ramtek (Marathi), pp. 50 1. See also its Hindi version. 4 Studies in Indology, Vol. II, pp. 285 f. 5 For the citations given below I have utilised the edition of this work recently published in the Prakrit Texts Series, Vol. VI (edited by Jacobi and revised by Muni Jinavijayaji).

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126 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME identified with the Nagendra-gaccha, which, according to the Kalpasutra, was founded in A.D. 93. So Vimala could not have completed his work in A.D. 4 or even in A.D. 63. Besides, the Paumacariya contains references to dinara, lagna etc. which suggest a much later date. So Dr. Jacobi places Vimalasuri in the third century A.D. There is, however, no doubt that his work is the oldest Prakrit kavya now extant. Vimalasuri has taken the life of Rama as the subject for his kavya. Pauma (Padma) was another name of Rama. The oldest Sanskrit work that describes the life of Rama is the Ramayana of Valmiki. The Buddhist and Jaina writers who have dealt with the story of Rama have introduced several changes into it. Vimalasuri also has omitted or altered several incidents or descriptions in the Ramayana story which appeared to be fantastic and unbelieveable such as the killing of the Raksasas by monkeys, the six-month long sleep of Kumbhakarna, the ten-headed form of Ravana, or has given another explanation of them. He says, for instance, that the Vanaras who helped Rama in the Battle of Lanka were not monkeys but Vidyadharas. Ravana had only one face, but as it was reflected in the nine gems of his necklace he appeared to be ten-faced. Though Vimalasuri has thus altered some incidents in the Ramayana, his story of Rama is by and large the same as in the Ramayana. He describes for instance that Dasaratha, being very old, decides to crown Padma (i, e. Rama) as his successor. But his queen Kaikeyi reminds him of the boon he had given her and asks him to give the kingdom to her son Bharata. So Padma leaves for the forest, accompanied by Laksmana and Sita. Bharata does not like this, but at the bidding of Kaikeyi and Padma he agrees to administer the kingdom till the return of Rama. Vimalasuri has described some events in the life of Rama as in the Ramayana of Valmiki, but has altered some others. He describes that in the course of their wandering, Rama, Laksmana and Sita reached the place Vamsasthapura. Though they were pressed by the prince of the place to enter the town, they preferred to stay on the adjoining hill called Vasagiri. Vimalasuri thus describes the hill (40, 4) - nANAvihataruchanne naannaavihpkkhikulrbuggiie| varakusumagandhapavaNe nijjharapavahantavimalajale // (The hill was densely covered by trees of various kinds; birds of different kinds were singing sweetly there; it was wafted by breezes laden with the fragrance of excellent flowers; and streams of clear water were flowing therefrom.)

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RAMAGIRI IN JAINA LITERATURE : 127 The prince of the place supplied all the necessaries of life to Rama and others and at Rama's bidding, erected many shrines of the Jinendras. 6 tattheva vaMsasele paumANatteNa naravarindeNaM / jiNavarabhavaNAI tao nivesiyAI pabhUyAI // After staying there for some days, Rama said to Laksmana,? aha annayA kayAI bhaNio rAmeNa tattha somittii| mottUNa imaM ThANaM annaM desaM pagacchAmo // nisuNijjai kaNNaravA mahANaI tIe atthi paraeNaM / maNuyANa duggamaM ciya tarubahalaM daNDayAraNaM // (Let us now leave this place and move to another. There is said to be a great river named Karnarava, after crossing which one comes across the great forest called) Dandakaranya abounding in trees, which is inaccessible to human beings.) So Rama, Laksmana and Sita left the place and proceeded to Dandakaranya. Vimalasuri then says, rAmeNa jamhA bhavaNottamANi jiNindacandANa nivesiyANi / tattheva tuGge vimalappabhANi tamhA jaNe rAmagirI psiddho|| (Since Rama got erected excellent and brilliant temples of the Jinendras on the high hill, it became well-known thereafter by the name of Ramagiri.) It is difficult to say how far the description of Ramagiri cited above from Vimalasuri's Paumacariya is historically correct. Much of it appears to be imaginary, but it clearly shows that in the age of Vimalasuri (i.e. in circa third century A.D.) there was a hill known by the name of Ramagiri north of Dandakaranya. Vimalasuri tells us that the hill got this name because Rama stayed there for some time and got some Jaina temples erected there. The geographical situation of this Ramagiri suits Ramtek. That this Ramagiri (Ramtek) lay to the north of Dandakaranya appears clear from the description in Bhavabhuti's Uttararamacarita.9 On the hill of Ramtek there is still shown the place where the Sudra ascetic Sambuka was practising 6 Paumacariya, 40, 9. 7 Ibid., 40, 12-13. 8 Ibid., 40, 16. 9 Act II.

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128 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME : penance. He was beheaded by Rama, but immediately thereafter he was turned into a Siva-linga, now called Dhumresvara. This tradition. is at least seven hundred years old; for it is mentioned in a stone inscription of the Yadava period fixed in the front wall of the temple. of Laksmana on the hill of Ramtek. His name occurs there in a slightly different form, viz., Dhumraksa.10 We learn from Bhavabhuti's Uttararamacarita that the Dandakaranya containing large hills and dales infested by dreadful ferocious beasts stretched southward from the place of Sambuka's hermitage up to the confines of Janasthana, on the bank of the Godavari. The situation of Ramtek thus answers to the description in the Paumacariya. That the place was known by the name of Ramagiri in the fourth century A.D. is clear from the Rddhapur plates of the Vakataka dowager queen Prabhavatigupta, who made one of her grants there near the padukas of Ramagirisvamin (i. e. Ramacandra),12 Kalidasa also describes that the hill of Ramagiri had the venerable padukas of Raghupati (Rama) installed on it. The way of the Cloud-messenger described in the Meghadute suits Ramtek and no other place, 14 and there are reasons to suppose that Kalidasa sojourned for some time in the neighbouring Vakataka capital Nandivardhana, which lies only about three miles from Ramtek.15 The hill of Ramtek was thus undoubtedly known as Ramagiri in the fourth century A.D. and it is not unlikley that the place was known by the same name a century or two before in the age of Vimalasuri. In describing the hill of Rama's sojourn as Ramagiri which lay to the north of Dandakaranya, Vimalasuri was not simply drawing on his imagination, but appears to have known the tradition about Ramtek. In one respect, however, Vimalasuri's description appears to be imaginary. He tells us that at the instance of Rama several temples of Jinendras were erected on the hill, which later became known as Ramagiri. There are now no remains of any temples of the Jaina. 10 See zrIrAmacandrasya kareNa caMdrahAsAddhataH prApya padaM murAreH / sa zaMbukaH zUdramunirmahIdharAje'tra dhUmrAkSa iti ia: Ep. Ind., Vol. XXX, p. 17. 11 See etAni tu sarvabhUtaromaharSaNAnyunmattacaNDa zvApadakulasaMkula girigaharANi janasthAnaparyantadarvAraNyAni dakSiNAM dizamabhivartante / Act. II. 12 See ftaufe: aqua C. I. I., Vol. V, p. 35. 13 See pancaiH puMsAM raghupati paMderatiM mekha V. 12. 14 See Studies in Indology, Vol. I, pp. 15 f. 15 Ibid., pp. 19 1.

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RAMAGIRI IN JAINA LITERATURE : 129 Tirthankaras on the hill of Ramtek. But there were evidently some in the vicinity of Ramtek. A huge and beautiful image of Santinatha about 15 ft. in height, was discovered some years ago in the vicinity of Ramtek and has now been installed in a magnificent temple erected by the munificence of the Jaina community at Ramtek. In the same temple are also installed the images of the Tirthankaras Parsvanatha and Candraprabha. Ramtek has been known as a sacred place from very early times. There are several temples of Hindu gods and goddesses on the hill of Ramtek. On one of the off-shoots of the hill there is a cave known from very early times as the cave of Nagarjuna. At Mansar, which lies in the vicinity of Ramtek, there are remnants of a Buddhist Vihara. Its Jaina images have been mentioned above. The place was thus regarded as sacred by the followers of all the three great religions, Hindu, Bauddha and Jaina. The description of Ramagiri in the Paumacariya, on the other hand, definitely goes against the identification of Ramgarh with Ramagiri of Kalidasa's Meghaduta, for, firstly, there are no remains or vestiges of Jaina temples on or in the vicinity of Ramgarh and, secondly, there is no evidence that Ramgarh lay to the north of ancient Dandakaranya. WE C ra G.J.V. 9

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Jainism in Ancient Bengal R. C. MAJUMDAR The first recorded contact of Bengal with Jainism was marred by incidents which reflect great discredit on her people. We learn from the Acaranga Sutra that when Mahavira wandered as a naked mendicant in Ladha (i. e. Radha or western part of undivided Bengal) through its two divisions known as Vajjabhumi and Subbhabhumi, he was attacked by the people who even went to the length of setting dogs upon him. It appears that it was not due to any malice against Mahavira, but the people generally maltreated the ascetics. It was difficult to travel in Ladha which is described as duccara or pathless country. It is said that many recluses lived in Vajjabhumi where they were bitten by the dogs and cruelly treated in hundred other ways. Some of the recluses carried bamboo staves in order to keep off the dogs (latthim gahaya naliyam). The Ajivikas habitually went about with a staff in hand, which was a matter of necessity with them."2 Of the peregrinations of Mahavira which brought him to Radha along with Gosala, also called Makkhali, we get a full account in Jinadasa's Curni to the Avasyaka Sutra, and the Bhagavati Sutra describes how these two, the founders, respectively, of the Jaina and Ajivika sects, settled down together before undertaking the annual 1 S. B. E., XXII, p. 84. 2 Barua, B. M., The Ajivikas, p. 57.

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JAINISM IN ANCIENT BENGAL : 131 journeys. As both these points have a great bearing on the history of Jainism in ancient Bengal it is necessary to discuss them critically. The Bhagavati Sutras describes in detail how Gosala, after several unsuccessful attempts, was at last accepted as a disciples by Mahavira at a place called Paniyabhumi. The story, put in the mouth of Mahavira, then proceeds : Aham..Gosalenam..saddhim Paniyabhumie chavvasaim viharittha. The normal meaning of the passage is that the two lived together at Paniyabhumi during the next six years. But this is in conflict with the statement in the Kalpa Sutra that Mahavira spent only one rainy season in Paniyabhumi. In order to reconcile this difference it has been suggested that the word Paniyabhumie should be taken as in the ablative and not, in the natural way, as locative. But this is admitted to be an unusual construction. As according to the persistent Jaina tradition Mahavira led a wandering life except during the rainy season, the expression in the Bhagavati Sutra evidently means that Mahavira and Gosala fixed their headquarters at Paniyabhumi, wandering about from place to place during the year, as described in detail, year by year, by Jinadasa. The question of the location of Paniyabhumi is also beset with difficulties. The Bhagavati Sutra seems to indicate that it was situated quite close to Nalanda. But this creates a difficulty. The Kalpa Sutra is in full agreement with Jinadasa's list of places where Mahavira spent the rainy seasons, with the single exception of Vajjabhumi in Ladha. The commentator, Vinayavijaya, reconciles this discrepancy by stating that Paniyabhumi, where, according to the Kalpa Sutra, Mahavira spent one rainy season, is in Vajjabhumi. Curiously enough, A. L. Basham accepts this explanation and comments that "thus it is evident that Jinadasa did not invent the whole of his story"?; yet elsewhere he severely criticized Dr. B. M. Barua for having located Paniyabhumi in Vajrabhumi on the authority of Vinayavijaya's commentary, "ignoring the clear statement of the Bhagavati that Paniyabhumi was near Kollaga which was a settlement near Nalanda."8 3 XV, Sutra 541. 4 For a summary, cf. A. L. Basham, The Ajivikas, pp. 39-41. Barua (op. cit., pp. 17 ff.) denies that Gosala was ever a disciple of Mahavira and therefore disbelieves the whole account of the Bhagavati Sutra. 6 Sutra 122 (Jacobi's edition, p. 64). 7 Basham, op. cit., p. 46. 8 Ibid., p. 41.

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132 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME We are thus placed in a dilemma. If we accept, on the authority of the Bhagavati Sutra, that Paniyabhumi was near Nalanda and not in Vajjabhumi, i.e., Radha (West Bengal), the omission of this single name alone from the Kalpa Sutra list of places where Mahavira spent the rainy season which otherwise agrees with the list of Jinadasa, naturally creates some doubt about Mahavira's visit to Radha. On the other hand, the visit of Mahavira to Radha is authenticated not only by Jinadasa but also by the canonical text Acaranga Sutra, as stated above. We should remember also that the Bhagavati Sutra merely refers in a casual way to the places where Gosala met Mahavira and it is possible to argue that the vicinity of Paniyabhumi to Kollaga and Nalanda need not be taken as a definite conclusion. Dr. Barua was evidently of this viewwhen he stated, on the authority of Vinayavijaya, that Paniyabhumi was in Vajrabhumi, and held that probably it was a river-port in West Bengal.10 It would be evident from the above discussion that at the time when the Jaina canonical texts were finally drafted there was no clear tradition about the wanderings of Mahavira. Even his visit to Radha or West Bengal is not altogether free from doubt, though it rests upon the testimony of the Acaranga Sutra and Jinadasa's Curni, composed probably not earlier than the 7th century A. D. But these testimonies cannot be altogether ignored, and we may accept as a provisional hypothesis that according to one line of Jaina tradition Mahavira not only visited Radha but fixed his headquarters for six or more years within its boundary. It may be argued against this last point that if Mahavira and Gosala settled down in Radha, Jinadasa's reference to their visit to Radha in the 5th and again in the 9th year of Mahavira's asceticism would be somewhat incongruous. But the same objection would remain, if we accept the location of Paniyabhumi near Nalanda, as Jinadasa refers their visit to Magadha which includes that locality. Of course, this might be regarded as an argument against the view that they had any fixed headquarters at all, though this would be a very reasonable deduction from the statement in the Bhagavati Sutra, as interpreted above. 9 It may also be due to the fact, mentioned above, that Barua disbelieves the whole story of the conversion of Gosala by Mahavira (See f. n. 5). 10 Barua, op. cit., p. 57.

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JAINISM IN ANCIENT BENGAL : 133 According to Jinadasa's detailed itinerary, Mahavira, along with Gosala, visited Radha twice, as stated above. On the first occasion they were attacked by two robbers in a village called Punnakalasa. On the second occasion they spent the rainy season at Vajjabhumi, though they were put to great trouble and ignominy by the uncouth people of the locality, as has been described above on the authority of the Acaranga Sutra. Jinadasa refers to Radha as a non-Aryan country, evidently on the basis of an old tradition and with a view to explaining the rudeness of the people. But if we study the itinerary of Gosala and Mahavira as a whole, as described by Jinadasa, we must conclude that respect and reverence to the ascetics was not yet such an established virtue as we are apt to think today. For Jinadasa records numerous instances where Gosala was ill-treated by the local people even in Aryan countries, and sometimes Mahavira also shared the sufferings and ignominy with him. Gosala was beaten by villagers on many occasions and also suffered other ignominies at their hands, while he and Mahavira were seized by a village headman, and in another place were suspected as spies and thrown into a well. With this background in view the reception accorded to the ascetics in Radha would perhaps appear less strange, and need not be accounted for simply by the assumption that the people of West Bengal were non-Aryan'l and therefore of wild character, though that might be partly or even wholly true, for all we know. At the same time it is only fair to remember that naked ascetics like the Jainas and Ajivikas must have been repulsive to people of good taste and high culture as well as ordinary men not accustomed to such a practice. According to the Dhammapada Commentary the Buddhist lady Visakha remarked on seeing an Ajivika : "Such shameless persons, completely devoid of the sense of decency, cannot be 11 But some Jaina texts represent the allied peoples of Arga and Vanga in a good light. Sylvain Levi observes: "For the Jainas, Anga is almost a holy land. The Bhagavati places Anga and Vanga at the head of a list of sixteen peoples, before the Magadha. One of the Upangas, the Prajnapana, classes Anga and Vanga in the first group of Arya peoples whom it calls the Khettariya." The list also includes Tamalitti, i. e., the people of Tamralipta in West Bengal (Radha). P. C. Bagchi, Pre-Aryan and Pre-Dravidian in India (Calcutta, 1929), p. 73.

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134 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME arahants "12. The Divyavadana records a similar feeling on the part of even a courtesan.13 Such a feeling must have been more widely spread and far more acute at the time of Mahavira when the people were unaccustomed to such sights of nudity, and the women must have been specially shocked at them. How far such a feeling was at work when the people of Radha set dogs upon Mahavira and other naked ascetics, and otherwise ill-treated them, cannot be ascertained, but merely the fact that they were non-Aryan14 and were therefore necessarily rude and wild, may not be the whole excuse or sufficient explanation of their conduct. This view gains some strength if it be accepted as a fact, as suggested above, that Gosala and Mahavira chose to live among the people, for such a course implies a gradual change in attitude on the part of the people. No one is likely to fix up his headquarters among a rude and vicious people beyond redemption. Further, as we shall see, the people of this part gradually embraced Jainism and this region became a strong centre of this religion. There is an indirect evidence to show that Jainism had established its influence in Bengal in the 4th century B.C. The Hathigumbha inscription of Kharavela15 tells us that this king had brought back an image of the Jina of Kalinga which had been taken away by Nanda. Nanda was evidently a king of the Nanda dynasty who ruled over the Gangaridai or Gandaridai and the Prasioi, mentioned by the Greek writers. In spite of the loose manner in which these two terms are used by them, it may be reasonably inferred from the statements of the Greek and Latin writers that about the time of Alexander's invasion the Gangaridai were a very powerful nation ruling over the territory about the mouths of the Ganges, and either formed a dual monarchy with the Prasioi or were otherwise closely associated with them on equal terms in a common cause against the foreign invader. The Nanda king who carried the Jaina image from Kalinga may be taken as the ruler of the Gangetic delta, and the carrying away of the Jaina image to preserve it with care (for it existed unimpaired for two or three centuries when Kharavela took it back to Kalinga) undoubtedly shows a leaning for Jainism either on the part of the king, or of the people, or, 12 Dhammapada Commentary, p. 400: "Evarupa hirottappavirahita arahanta nama nahonti." 13 Divyavadana, Ed. by Cowell, p. 165. 14 Cf. f.n. 11. 15 Line 12. Ep. Ind., pp. 80, 88.

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JAINISM IN ANCIENT BENGAL: 135 perhaps, of both. Kharavela himself was a Jaina, and his own action shows how much a king yearned for the possession of a sacred image of a sect to which he was attached, and it would not be unreasonable to take the same view about the Nanda king. It may, of course, be argued that if the Nanda king in question had a very extensive territory outside Bengal, his own religious feeling might not have reflected that of Bengal. But as the Gangaridai were the people of Bengal, primarily, and Kalinga was adjacent to this region, the view that the carrying away of the Jaina image by the king of Gandaridai indicates the Jaina influence in Bengal has a great degree of probability. The Divyavadana records a tradition which shows that the Nirgrantha or Jaina religion was established in Pundra or North Bengal at the time of Asoka. It is said that the lay followers (upasaka) of Jainism in the city of Pundravardhana (North Bengal) had painted a picture representing Buddha falling at the feet of Nirgrantha, and on hearing this Asoka massacred 18,000 Ajivikas of Pundravardhana on a single day. It is difficult to put much faith in such a story except as the echo of a tradition that Jainism flourished in Bengal at the time of Asoka in the third century B.C. This view is strengthened by the statement in the Kalpa Sutra that Godasa, a disciple of Bhadrabahu, founded a school named, after himself, Godasa-gana. In the course of time it had four sikhas of which three were known as Tamraliptika, Kotivarsiya, and Pundravardhaniya, named after three very well-known places in ancient Bengal, viz., Tamralipti (Tamluk in Western Bengal or Radha), Kotivarsa and Pundravardhana, both in North Bengal. The nomenclatures leave no doubt about strong Jaina influence in north, west and south Bengal. The Kalpa Sutra is attributed to Bhadrabahu, of the 4th century B.C.", but the present text is not so old, though it contains many old traditions. Inscriptions which may be referred to the end of the first century B.C. and the first century A. D.18 contain a large number of the names of schools which are mentioned in the Kalpa Sutra, and the establishment 16 Divyavadana, p. 427. The account mixes up the Nirgranthas and Ajivikas, but the name of the sect is uniformly given as Nirgranthas in the Chinese translation. Cf. Przyluski, La legende de l'Empereur Asoka, p. 278. 17 According to Jaina tradition he was a contemporary of Candragupta Maurya who ruled from c. 324 to 300 B. C. 18 Guerinot, Epigraphie Jaina, pp. 36 ff., 71 ff,

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136 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME of the three sakchas in Bengal mentioned in the Kalpa Sutra may also be referred to the same period, if not before. We may therefore reasonably assume that by the first century A.D. Jainism was firmly established in different parts of Bengal, including Radha whose people had once been so rude to Mahavira. An inscription, discovered at Mathura but now in the Calcutta Museum, records the erection of a Jaina image in the year 62 at the request of a Jaina monk who was an inhabitant of Rara. Rara is very probably Radha, a well-known variant of Radha (in Bengal), and the date is to be referred to the Kusana era and therefore equivalent to about 150 A.D.19 The next definite evidence of Jainism in Bengal is furnished by a copper-plate grant, dated year 159 (of the Gupta era, and equivalent to 479 A.D.) found in Paharpur in North Bengal famous for the big Buddhist Stupa and monastery of the Pala period (8th century A.D.). The grant records the endowment, by a Brahmana couple, of lands for the maintenance of worship with sandal, incense, flowers, lamps, etc., of the divine Arhats at the vihara of Vata-Gohali which was presided over by the disciples and the disciples of disciples of the Ni(r)granthasramanacaryya (Jaina preceptor) Guhanandin, belonging to the Pancastupa section (nikaya) of Kasi (Varanasi).20 This record proves the existence of a Jaina temple with images of the Arhats, and a monastery, existing for at least three generations, i. e., for nearly a hundred years, or more, or since the fourth century A.D. at the latest. It also shows that even those who were not professed Jainas, including the Brahmanas, had the highest reverence for Jaina Arhats and regarded it as a pious duty to endow the Jaina temples for defraying the expenses of its daily worship. Jainism made very good progress in Bengal in the next century. The Chinese pilgrim Hiuen Tsang, who visited this region about 638 A.D., describes Jainism as the dominant religion in two of the most important States, one in North and the other in South-eastern Bengal. Referring to Pundravardhana, a big flourishing kingdom in North Bengal, the pilgrim says: "There were twenty Buddhist monasteries. Deva-temples were 100 in number, and the followers of various sects lived pell-mell, the Digambara Nirgranthas being very numerous. "21 Referring to Samatata or Lower Bengal to the east of 19 R. D. Banerji, Palas of Bengal, p. 72. 20 Ep. Ind., XX, pp. 59 ff. 21 Watters, On Yuan Chwang, II. 184.

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JAINISM IN ANCIENT BENGAL : 137 the Ganges (more precisely a part of Central Bengal extending up to and including Tipperah District) the pilgrim observes : "It had more than 30 Buddhist monasteries... There were 100 Deva-temples, the various sects lived pell-mell, and the Digambara Nirgranthas were very numerous."22 This rendering of Hiuen Tsang's statement in English by T. Watters does not enable us to make a comparative estimate of the importance of Buddhism, Brahmanical religion (Devatemples) and the other sects among which the Jainas predominated The translation of the same passages by S. Beal is somewhat different and of great significance from this point of view. Thus the first of the two passages is translated as follows: "There are about twenty sangharamas.. There are some hundred Deva-temples, where sectaries of different schools congregate. The naked Nirgranthas are the most numerous."23 This would mean that the majority of people who were not Buddhists followed the Jaina religion; in other words, the Jainas were more numerous even than the followers of Brahmanical religions. But what is probably meant is that among the homeless ascetics, who were not Buddhists, the majority were the followers of Jainism. Curiously enough, we have no definite information about the position of the Jainas in Bengal after 7th century A.D. Discovery of Jaina images belonging to this period, both in Pundravardhana and Samatata, may be taken to indicate that Jainism still flourished in those regions. But the number of images so far found is very few, and there is no epigraphic record throwing any light on the condition of Jainism after the seventh century A.D. In the Jaina Inscriptions (Jaina Lekha Sangraha) collected and compiled by Puran Chand Nahar (Calcutta, 1918) there is a short epigraph engraved on the back of an image of Parsvanatha bearing the date 1110 Samvat. It adorned a temple at Ajimgunj in the District of Murshidabad (West Bengal) which was washed away by the Ganges, and is now placed in a new temple built in the same locality by the Nahar family. It appears, however, from a footnote that the image was brought from Chitor, evidently by the Nahar family or somebody else in the Muslim or British period.24 It does not therefore give us any information about the condition of 22 Ibid., 187. 23 Beal, Buddhist Records of the Western World, II. 195. The same difference occurs in the translation of the other passage also. 24 Jaina Inscriptions, Collected and Compiled by Puran Chand Nahar (Calcutta, 1918).

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138 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Jainism in Bengal. It is significant, however, that no other inscription in Bengal in Nahar collection is older than the 15th century A.D. We may therefore reasonably conclude that the naked Nirgrantha sect gradually declined in Bengal after the seventh or eighth century A.D. As this coincides with the rise of the Imperial Palas who were Buddhist and ruled over Bengal for nearly four hundred years, from the middle of the eighth to the first part of the twelfth century A.D., it is not unreasonable to connect the two events. In other words, one might reasonably suppose that the popularity of Buddhism, due to the patronage of the Pala kings, was the main cause of the decline of Jainism in Bengal. It is not a little strange that not only are the Jaina images of this period exceedingly rare, offering a striking contrast to the numerous images of Buddhist and Brahmanical cults, but the numerous inscriptions in Bengal belonging to this period, and even later, do not contain any reference to Jainism. It has been suggested that the naked Nirgranthas in Bengal were merged into such religious communities as the Avadhutas who flourished towards the end of the Pala period. It is interesting to note that a class of the Avadhutas is actually known as Digambaras (naked). There are many rich and distinguished Jaina families in Bengal today, but they are all descended from the Jainas immigrating from the western parts of India during the Muslim period. RY

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On Samlekhana or Suspension of Aliment NATHMAL TATIA CAMLEKHANA or suspension of food and drink with a view to face death peacefully, undisturbed by worldly thoughts, is an important item of the Jaina code of spiritual discipline. We propose to consider the rational aspects of this dogma and also refer to a similar practice in Brahmanism and Buddhism. Life and will to live without any ulterior purpose and end have very little significance for the spiritual aspirant. Hedonistic ethics which sets forth pleasure as the end of life has not carried conviction to serious contemplative thinkers. It fails to draw the line of demarcation between life of the brute and life of the man. Apart from the question whether the world abounds in pleasure or pain, the aspirant for perfection is not satisfied with the present set up in spite of his capacity for amelioration. It is the presupposition of all religions that human life is susceptible to infinite improvement which reaches consummation in infinite perfection in every dimension. Life is thus a means for this consummation. When by age, disease and decrepitude of powers, a human being finds himself incapable of spiritual and moral advance and the physical existence becomes rather a handicap, a Jaina is asked to strive to get rid of this handicap by samlekhan, or suspension of food and drink till death. It is misery in excelsis to 1 Tattvarthabhasya, VII. 17

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140SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME become a burden on society without the capacity for contribution to the general weal. The Jaina in this situation adopts a course of graduated suspension of food and medicine with a view to shuffling off the mortal coil. He believes that the cessation of the present state of degradation entailed by loss of powers will lead to another spell of existence endowed with fresh vigour, strength and renewed opportunity for progress. This tenet and practice of the Jaina religious ethics has become a source of controversy. The Jaina will not put an end to the life of another creature even when its life has become a source of unbearable misery. The act of mercy of Mahatma Gandhi who expedited the death of a calf by injection of poison in order to relieve it of the painful existence shocked the conscience of many an adherent of the cult of non-injury (ahimsa). A Jaina will not take exception to any remedial measure to alleviate the pain of the suffering creature. But death as the ultimate remedy will not commend itself to him. He will prefer to remain indifferent. But then, is he not open to the charge of injury to life, when he does demand to put an end to his own existence which has become a gratuitous burden? Is it anything short of suicide which involves injury to life, though one's own. The Jaina answers the dilemma by a counter-dilemma. Is the motive behind this religious suicide, samlekhana, desire to get rid of pain ? If so, it must be as reprehensible as a heinous crime and sin. But if the motive is not a device of escapism but a desire to get rid of disability, it must be construed in a different light. When physical disability entails spiritual and moral bankruptcy, the life has forfeited its moral justification. It is not fear of pain which inspires this extreme step, but fear of moral degradation or stagnation. In life there is either a move forward or a move backward and nothing stationary. The Jaina religious aspirant, therefore, takes steps to get release from the moral stagnation bound to lead to moral degradation. And it will not be fair to charge him with the guilt of committing suicide. When life becomes a drag and hindrance to the pursuit of self-purification, if has lost its significance. In Jaina ethics, therefore, the practice of samlekhana is not prompted by motive of cowardice which fears pain and suffering. But it is motivated by the desire for renewal of life with fresh opportunities for self-amelioration by means of moral and spiritual purification. The practice of suicide in extreme straits was also sanctioned in Brahmanical ethics. But it is now forbidden probably owing to the abuse it gave rise to. Bhavabhuti, the Indian poet of Brahmanical

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ON SAMLEKHANA OR SUSPENSION OF ALIMENT : 141 persuasion, correctly stresses the purpose and justification of life to consist in the opportunity it affords for self-purification (taportham ayuh). There is a passage in Acariya Buddhaghosa's Samantapasadika", the Atthakatha on the Pali Vinaya Pitaka, where the question of the suspension of food and drink by a Buddhist monk is discussed and approved. Should a monk stop taking food and medicine if he is afflicted with long-drawn disease and finds his body incapable of surviving even if carefully tended and nourished, and his attendants tired and exhausted ? The answer is in the affirmative. A monk is also allowed to stop taking food and medicine if he finds his disease acute and is convinced of the impossibility of survival and the attainment of spiritual elevation appears to him as a fait accompli. Even a monk who is not sick is permitted to do so provided he has developed detachment from fear of the world and considers begging of food as hindrance and handicap and desires to apply himself exclusively to meditation. Here meditation is the vis a tergo which compels him to suspend world by activities. The relevant text embodying the verdict runs as follows: Yassa pana maha-abadho ciranubaddho, bhikkhu upatthahanta kilamanti jigucchanti "kada nu kho gilanato muncissama" ti attiyanti. Sa ce so "ayam attabhavo patijaggiyamano pi na titthati, bhikkhu ca kilamanti" ti aharam upacchindati, bhesajjan na sevati vastati. Yo pana "ayam rogo kharo, ayusamkhara na titthanti, ayam ca me visesadhigamo hatthapatio viya dissati" ti upacchindati vattati yeva. Agilanassa pi uppanna-samvegassa aharapariyesanan nama papanco, "kammatthanameva anuyunjis sami" ti kammatthanasisena upacchindantassa vattati. In modern times, Mahatma Gandhi gave a new meaning to this practice of fast unto death. He undertook such fasts for self-purification and acquiring spiritual strength. Injustice of any kind is not to be tolerated. But injustice cannot be removed by another sort of injustice. Violence, according to the Mahatma, is a form of injustice and as such is not to be resorted to for the removal of injustice in any field of life, social, political or moral. One has to set an example of non-violence and self-purification for convincing the aggressor of the 2 Malatimadhava, I. 7. 3 Pp. 463-4, Nalanda Edition.

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142 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME injustice of his actions. And Mahatma Gandhi adopted fast unto death in order to cleanse himself of all ill-will-patent or latent-against the enemy, and effect change of heart of the aggressor. The old principle of Samlekhana thus found a new exponent in Mahatma Gandhi in the context of modern problems, national and international.

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Jaina Sculptures Of The Gupta Age In The State Museum, Lucknow R. C. SHARMA THE sculptural wealth excavated by Dr. Fuhrer at the site of Kankali mound, Mathura, from 1888-91 was deposited in the State Museum, Lucknow. This wealth consisted of Jaina antiquities mostly of Kusana and Gupta periods. As we are informed from an epigraphic record (antiquity No. J. 20 of this Museum), there once existed a great Jaina monument at Mathura which was known as the Vodva stupa. The number of the Jaina antiquities of the Gupta age unearthed at Mathura is much less than the Kusana sculptures but in quality and fine workmanship these few specimens are some of the best examples of Indian art which the Mathura school has ever produced. Before describing the collection of Jaina sculptures in this Museum it would perhaps be appropriate if the chief characteristics of the Gupta art are dealt with, particularly focussing attention on the Jaina sculptures. The supremacy of the Brahmanical religion during the Gupta age caused a gradual decline of Jainism, although deeprooted faith in Jainism of the middle class people and wealthy merchants continued to give encouragement to the artist to show his skill. in chiselling the Jaina statuary. We, therefore, find that despite receiving no royal patronage Jaina antiquities of this period are

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144 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME equally good in comparison with those of the other sects. And there are obvious reasons for that. With the downfall of the Kusana empire the art conventions in India began to change and with the advent of the Gupta rule the whole country (particularly Northern India) faced a revival in every sphere of life. The traditions of art, which were imported by the Kusanas in India and handed over to the artist of their reign were either discarded as unwanted foreign elements or Indianised. The images now refused to burden themselves with too many ornaments. The sculptor concentrated on combining the inner voice of a saint with his outward expression. He did not feel it necessary to give all bodily details but carved the image as if to tell us the superhuman joy enjoyed by the Tirthankaras through penances and renunciation of worldly pleasures. The round almond-shaped eyes now took the shape of the half-open lotus-bud looking inward under heavy and drooping eyelids. A slight smiling expression on the face of the Kusana figures which reminded us of the earthly happiness is now turned into serene calmness. The face is now lit up with the light of supreme knowledge (kevala-jnana) achieved through a perfect discipline of the physical and mental faculties. This new concept of beauty was also responsible for changing the outer form as well. The body which had already started leaving surface of the material in the Kusana period now became more round. This was, of course, suggestive of fullness and firm determination. The heaviness, straightness and voluminousness of the body was outdated and the images now modelled were slim and youthful, symbolising movement and flow of energy. As the aim of the Gupta artist was to manufacture a disciplined body the passionate and sensual figures of the Kusana age appeared now only rarely. The intellectual awakening gave birth to the new ideals of Indian art which had established few set formulae. The images of great men who had achieved the immortal bliss, were differentiated from those of the mortal beings by carving out small curly hair, elongated ear-lobes, long arms etc. which were supposed to be the symbols of great man (Maha-Purusa-Laksanas). The simple halo of the Kusana period which showed only scalloped border now becomes more elaborate depicting various gracefully ornamented bands of full-blown lotus, rosettes, twisted-rope, foliated scroll and bead patterns. The richness of nimbus signifies the knowledge being spread out of the body of the great man. Thus the Gupta artist strove to show the triumph of spiritualism over materialism

Page #606
1959 Fig. 1. Pedestal of the image of Lord Mahavira dated S. 299 (No. J. 2, State Museum, Lucknow) Detail of the inscription giving date on Fig. 1 (Page 144)

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Fig. 2. Jaina Image from Mathura (J. 139, State Museum. Lucknow) 11210TUAKAD IMAGE Fig. 4. Tirthankara Image (No. J. 121, State Museum, Lucknow) Fig. 3. Colossal Jaina Image from Mathura (No. JO. 72, State Museum, Tl

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Fig. 5. Jaina Image from Laharpur (No. 0. 181, State Museum, Lucknow) Fig. 7. Jaina Image from Mathura (No. J. 104, State Museum, Lucknow) dhAnAtIrthakara Fig. 6. Jaina Image (J. 119, State Museum, Lucknow)

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Fig. 8. Image of Varddhamana, from Mathura, d. G. E. 113 (NO. J. 36, State Museum, Lucknow) Fig. 10. Jaina Image (No. 48.184 State Museum, Lucknow) Fig. 9. Part of a Parikara, Jaina Image (No. J. 89, State Museum, Lucknow) Fig. 11. Jaina Image (No. 49.199, State Museum, Lucknow)

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JAINA SCULPTURES OF THE GUPTA AGE: 145 and this phenomenon basically differentiated the ideals of the Gupta art from the Kusana ideals. It would also be useful to add a few lines regarding the difference between a Buddha and a Jina image of the Gupta age. It may not be difficult for a scholar of Indian art to understand the difference but a common visitor visiting archaeological galleries of Indian museums is eager to know it. Many foreign and also Indian visitors have interrogated about this on their visit to the museums. As Varahamihira speaks the distinguishing features of a Jaina figure are its long hanging arms, the Srivatsa symbol, the peaceful appearance of form, youthful body and nudity: 'AlambabAhuH zrIvatsAGkaH prazAntamUrtitha / digvAsAstaruNo rUparvAdha kAtho'rhatAM devaH // (Brhatsamhita, Adhyaya 58, v. 45, as quoted by B. C. Bhattacharya in the Jaina Iconography, p. 27, f. n. 2). The main difference between a Buddha and a Jaina image is that the former does not bear any religious mark on the chest while the latter is invariably given the mark of Srivatsa. The Buddha figures are generally given a bump of hair (usnisa, the mark of knowledge) over the head but the Jaina figures have only. curly hair without any elevation. The Buddha images are found in various postures and mudras, e. g., earth-touching (bhumisparsa), protection (abhaya), turning the wheel. of law (dharma-cakrapravartana), meditation (dhyana), preaching (upadesa) etc. but the Jaina images are seen in two poses only, one seated in meditation (dhyanastha) and the other standing in meditation after renouncing the world and even sacrificing the body itself (danda or kayotsarga). So far as the question of identification of various Tirthankaras from their cognizances is concerned it may be inferred that on most of the early images their names are not given and we do not also notice any distinctive marks (lanchanas). Only the images of Suparavanatha and Parsvanatha can be recognised as they are endowed with the snake hoods. Further the Suparsvanatha images have five and the Paravanatha images have seven snake hoods overhead. There has also been a tradition of carving the statues of Rsabhanatha, the first Tirthankara, with his locks falling on shoulders. Most of the Jaina sculptures of the Kusana period are inscribed and generally the names of the Jinas are specified, but in the Gupta period there is at dearth of epigraphic record on the Jaina images, so it is not possible to say which of the remaining 21 Tirthankaras has been represented by G.J.V. 10

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146 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME a particular image. It was only in the later period that the Jaina statuary was marked with various symbols or cognizances and the problem of identification was thus solved. After surveying the common characteristics of Jaina sculptures of the Gupta age I now proceed to describe the important specimens from the collection of the State Museum, Lucknow. Lucknow Museum (L.M.), no. J. 2. (Fig. 1) Lower part of the image of Mahavira of which only feet are extant. The pedestal represents that the Jina stood on altar with a round top, supported by two semicircular arches resting on a plain band below. The border of the arches and the band on which they rest bear rope pattern on their borders. The edge of the altar is ornamented with twisting rope pattern. On a projecting cornice on each side are the feet of couple of standing figures with flowing draperies. One foot of a third figure is extant on the proper left. The most significant point is that this sculpture is inscribed and gives the name of the Tirthankara and is dated in the 299th year of an unknown era. The name of the reigning king is also missing from the record. All these circumstances have made the sculpture highly controversial. This was first discussed by Buhler (Epigraphic Discoveries at Mathura, J. R. A. S., 1896, pp. 578-581; The Academy, Vol. 49, 2nd May, 1896, pp. 367-368; and w. Z. K. M., Vol. X, 1896, pp. 172-174), who while hinting on various possibilities reserved his conclusion for future when some more similar evidences were brought to light. Subsequently, late R. D. Banarjee published it in Ind. Ant., Vol. XXXVII, 1908, p. 34. He reads the inscription as follows: 1. nama sarva zIdhanam ArahAtanaM mahArAjasya rAjatirAjasya sarvacchara sate (du) P. poo, 80, S, H ARAP faqe & BAITTEIDLAETITE sfah [li] 3. ...sya okhArikAye vitu ujhatikAye ca okhAye svAvikA bhagI niya 8. ... a met iagtata aga tigrar gala 527faat...... 5. devakulaM ca "Adoration to all the Arhats and the Siddhas. In the year two hundred......299, of the great king and supreme king of kings in the second month of winter on the first day....the daughter of Okharika and the lay sister of Ujhatika and Okha......and by Sirika and Sivadina (Sivadatta) also, the image of the Arhat Mahavira was set up in the temple of Arhats... ...and a temple". He comes to the following. conclusion :

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JAINA SCULPTURES OF THE GUPTA AGE : 147 "If referred to the Mauryan era, the year 299 is equivalent to 321-299 = 22 B.C. and if referred to Seleukidan era it becomes equal to 312 = 13 B.C. This detailed examination proves that the date in this inscription can not be referred to the era used in the Kusana inscriptions and it may be said with certainty that any conclusions as to the chronology of the Kusana period based on this inscription cannot be regarded as valid." (p. 41). Sten Konow while contributing a paper for the K. B. Pathak commemoration volume, Poona 1934, pp. 262-268 discussed this inscripion. Again commenting on an inscription of the year 303 of an unknown era, discovered by N. G. Majumdar at Charsadda and also published by him in the Epigraphia Indica Vol. 24, 1937, pp. 8-10, Konow opines that the inscriptions using high numbers in dates belong to one era. These inscriptions are from Lorian Tangai (of the year 318), Jamalgarhi (359), Hashtnagar (384), Skarah Dheri (399) and Mathura (299). (S. Konow, Charsadda Kharoshthi Inscription of the year 303, Acta Or., Vol. XX, 1948, pp. 107-119). But he has not been able to provide any decisive clue to this problem and has been shifting from one view to another in discussing the date of Kaniska in several papers. He has accepted the use of seven eras in the period from 1st century B.C. to 1st century A.D. These seven eras are, the old and the new Parthian eras, the Vikrama era, the Azes era, an era beginning about 50 A.D., the Saka era and the Kaniska era. The views of Professor Konow have been severely criticised by J. E. Van Lohuizen-De Leeuw in the chapter on "The Eras" of her book The Scythian Period. Commenting on Konow's views she remarks, "The way in which Konow was continually forced to alter his opinion, as every now and then points arose which did not square with his ideals,.." (Ibid., p. 16). On his theory of seven eras she says, "It is clear to everyone how matters become exceptionally complicated by those seven eras...." (pp. 16-17). Disagreeing with the views of Konow, she opines that the inscriptions bearing high numbers in date (of the Years 318, 359, 384, 399 and possibly even that of 303) were inscribed during the reign of Kaniska and his immediate successors but the inscription under discussion (of the Year 299) on the palaeographical and other indicacations should be assigned to the period "just before Kaniska's accession to the throne" (p. 57). After quoting various authorities and discussing the problem Lohuizen gives the solution of this knotty problem as follows:

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148 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME "On closer scrutiny of the inscription there fortunately appears a very simple solution for this seemingly unsolvable question. "The date which up till now has been read by all scholars as 299 is really 199 and this solves the problems." (Ibid., p. 58). In a footnote No. 214, she has also tried to take Luders' support. Now let us carefully examine this theory. In her own words "The character for the hundreds, as far as visible, has the following shape. In a detailed examination we discovered that the principle on which the creation of the signs for the hundreds is based is the following For 100 an "a" written, for 200, an 'a' (this is an 'a' plus a horizontal line to the left of the character)." As the sign of 200 for Kusana inscriptions has not been given by Buhler in his chart, she has based her theory on the legends available on the Ksatrapa coins. She views that had it been 'a' then the letter would have corresponded to the similar a 's appearing in arahattanam' in line 1, arahato' in line 2 and arahatane in line 4 which have a horizontal line in the middle or at the bottom of the vertical line of a'. 4 While appreciating her brilliant approach and efforts I must say that she has drawn a risky conclusion without convincing proofs for her support. She has advanced various arguments in support of her theory but I shall make a brief survey only of the important ones: 1. She has given the shape of letter 'a' as and has not taken into consideration the significance of the big horizontal stroke on the left top of the character. The close up view of the inscription (Fig. 1a) will show that the prominent stroke is not without meaning. era. 2. Lohuizen is inclined to put this inscription in the pre-Kusana The Ayagapatas excavated at Mathura (most of them now deposited in the State Museum, Lucknow) belong to the early 1st century A.D. We do not notice the formation of the letter 'a' with such a big horizontal stroke in any of these slabs. 3. According to the learned scholar sign of 200 of Kusana period is not known. But why should we hesitate in accepting this sign ('a' with horizontal stroke on the left top of the letter) to be the sign We find several variations of one letter prevalent in the same period and the present sign may be one of the variations of the sign which is generally met with on the Ksatrapa coins, i. e., 'a' with a stroke in middle or bottom of the character. Luckily G. H. Ojha has come to our refuge. He has given the sign of 200 as 'a' with a horizontal mark on the left top of the

Page #614
JAINA SCULPTURES OF THE GUPTA AGE: 149 character. This is based on the Nasik inscriptions of 1st-2nd century A.D. (Pracina Lipimala, Pl. LXXIV). In view of the objections raised above it would perhaps not be in the fitness of things to make any sudden change in the reading and thus ignoring the opinions of the scholars expressed by them till now. The scholars have dealt with the palaeographic aspect only in assigning the date of this antiquity and have not considered the stylistic grounds. I quite agree with the following remark of Dr. Lohuizen that aesthetical arguments must preferably not be used unless they are based on solid proofs and facts" (The Scythian Period, p. 20). But at a stage where the factual grounds are confusing and we are not in a position to reach any conclusion, we must not be hesitant in considering the other grounds also. These grounds must, of course, not go against the available facts. In the present case the factual situation has been discussed in detail and now we proceed on the consideration of the secondary approach, i. e., stylistic grounds. On the close examination of the feet. of the main deity and the lower parts of the attendant figures, one is inclined to think that the sculpture was carved in the period of transition between the Kusana and the Gupta era. Fleshy feet with beautifully demarcated nails in fingers and a decorated horizontal band below them hint to the possibility that the sculpture represents a developed stage. Besides, following Dr. V. Smith if we assume for a moment that the Year 299 refers to the Vikrama era then the date of the image comes to 299-57-242 A.D. An alternative and perhaps safer explanation is to regard the date 299 as expressed in terms of an era identical, or nearly identical, with the era of Vikrama, B.C. 57. On this supposition the date would be equivalent to A.D. 242, which is quite possible' (V. Smith, J. R. A. S., 1903, p. 38). This date falls in the period of disruption of Kusana empire after the death of Vasudeva (176 A.D.) There still remains one point to be explained and that is the absence of the proper name of the king. Dr. Lohuizen rightly remarks. that during the Kusana period the proper name of the king was always added to the title of the king and the present inscription is very unusual in this respect (p. 57). But for this reason we need not place the inscription in the pre-Kaniska era. The absence of the name of the ruling king can be explained in the light of the fact that after their roots were uprooted the Kusapas could not proclaim their

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150 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME sovereignty, although the royal epithets of Maharaja and Rajatiraja continued to be adopted by the feudatory descendants of the royal family. The conjecture also coincides with the stylistic grounds and also with the reading of the date as 299 as discussed above. But the views expressed here need further support of more solid evidences. The material is red sand stone and it measures 2.5" x 1.6". It came from Kankall mound, Mathura. J. 139 O. 72 Bust of a Tirthankara with a portion of halo behind his head. The hair is arranged in small spiral knobs and the chest is marked with the Srivatsa symbol. From the expression of face, formation of eyes and elongated ear lobes the image. should be assigned to the transitional phase, i. e., in the beginning of the 4th century A.D., when the Kusara traditions were passing by and the Gupta ideals were ushering gradually. The material is red sand stone, it measures 2.44"x2.1"; its provenance is Mathura. (Fig. 2) This standing nude image of a Tirthankara is the most voluminous image of the museum collection. His right hand feet are missing. The hair combed, fall on his shoulders. Perhaps on the basis of its colossal size it has been dated in the Museum records in the Kusana period. But V. S. Agrawala has assigned it to the 6th century A.D. with this remark, 'The Gupta sculptors were specially fond of chiselling huge blocks of stone to carve colossal statues. From its style the statue is to be assigned to the Gupta period, about sixth century A.D.' (A Short Guide Book to the Archaeological Section of the Provincial Museum, Lucknow, p. 13). But if we critically examine the serene expression of face, hair arrangement, formation of lotus-shaped eyes and lips which are the characteristics of the Gupta art on one hand; and heaviness, broad-chestedness and a little crude formation (the characteristics of the Kusana art) on the other, we come to the conclusion that the image should neither be dated in the Kusana period nor in the late Gupta age but in the 4th century A.D. V. N. Srivastava while contributing for Marg, March 1962 (p. 56) also supported this view. Stella Kramrisch who visited the Museum in December, 1964, also agreed with this dating. Thus the image is a step forward in the evolution of the Gupta art than the sculpture described earlier. This may probably represent the first Tirthankara Adinatha as suggested by the

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JAINA SCULPTURES OF THE GUPTA AGE : 151 fall of hair on the shoulders. It reminds us of the old tradition of Yaksa images which influenced the early Buddhist and Jaina iconography to a great extent. This tradition continued even in the later periods. The material is red sand stone and it measures 11'8" x 4'10". This was acquired in the Museum from the Public Library at Allaha bad but probably it originally belonged to Mathura. (Fig. 3.) J. 121 The Tirthankara is standing in meditation in Kayotsarga pose. He wears a mark of Srivatsa, has curly hair and elongated ear lobes. The halo represents only full blown lotus. On his right side stands a Naga deity with five-headed serpent hood which he touches with his raised right hand and the left hand holds some cuplike object. I think that the Naga deity is Balarama with a cup of wine and in this case the Jina can be identified as Neminatha. To the left of the Jina stands a defaced attendant. Near his feet are seen two devotees in adoration to his right and one to his left kneeling before a seated saint. The pedestal shows two lions on two corners seated with their backs inward. There is a wheel in the centre of the pedestal on each side of which is seen a seated gure of Jina in meditation. The upper corners of the image show two flying Gandharvas holding garlands. Their hair arrangement which shows Juda tied in the middle is a typical Gupta feature. The sculpture has been assigned in the label to the Kusana period but on its stylistic basis as discussed above, I date it in the 4th century A.D. The material is red sand stone and it measures 1'.11}" x 103". It probably came from Mathura. (Fig. 4.) 0.181 The image of a Jina seated in meditation wearing the mark of Srivatsa on his chest. The centre of the halo is marked with the rays of light which are shown issuing from his head. This is followed by a full-blown lotus, scroll work and scalloped border. Two flying Vidyadharas are seen carrying the garlands on the upper two corners of the image. The Jina on each side is flanked by two standing attendants holding chowries. The chowri of the attendant of the right side is, however, missing. These attendant figures wear the fluted head dress which is generally worn by the royal persons or the Bodhisattvas of Kusana period. The curls in the hair of the main deity are also crudely shaped. The serene contemplation which is expressed on the face of other images, e.g., J. 104, is not met

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152 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME with here. On these stylistic grounds I feel the image does not represent the full-fledged style of Gupta art and should be assigned to the middle or late 4th century A.D. The material is red sand stone and it measures 4.7" x 2.11". It was acquired from Laharpur in district Sitapur but it must have been imported from Mathura which was great workshop of maso nry work during the Kusana and the Gupta periods. (Fig. 5.) J. 119 Headless image of a Tirthankara in meditation on a lion throne. He is attended by two fly-whisk bearers on both sides. The lions supporting the throne are seated with their backs turned towards each other. There must have been a wheel in the centre of the pedestal which is now damaged. The halo round the head of the Jina is beautifully decorated and consists of two concentric bands. The first band which follows the fullblown lotus represents a row of beads. The second band consists of an ornamental foliage which displays very fine workmanship. The upper right corner shows a Vidyadhara hovering in air with a garland in his hands, while the left corner is broken. The sculpture can safely be dated in the fifth century A.D. The material is red sand stone and it measures 2.5" x 1'.23"; probably it came from Mathura. (Fig. 6.) J. 104 This is one of the finest products of the Mathura school of art. The Jina is seated in meditation. The expression is highly suggestive of supreme bliss when the passions are burnt in the fire of knowledge. The master artist of this period wanted to convey the same feeling in combining the innes spirit with outer forms. He wears the mark of Srivatsa on his chest which resembles the shape of the modern Nepalese representation of thunderbolt. The aureole is very elaborately carved and represents three concentric bands of ornaments and a scalloped border in the end. The central band is carved with circular row of arrows or spear heads issuing from the head and symbolising rays of light (knowledge) radiating from the centre as if shooting the darkness (evil). Kalidasa typifies such halo as 'sphuratprabhamandala'. The second band contains fine scroll work which is surrounded by a third band representing an ornamental twisting rope pattern with fine rosettes at intervals. The right corner of the back slab shows a flying Vidyadhara with a flower pot in his left and a sprinkler (?) in right hand. The left corner is broken and there are no traces of pedestal at present.

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JAINA SCULPTURES OF THE GUPTA AGE : 153 The material is red sand stone and it measures is 4'.2" x 3'. It came from Kankali mound, Mathura. (Fig. 7.) J. 118 Image of a Tirthankara perhaps Vardhamana seated in meditation on lion throne. He wears the usual symbol of Srivatsa on his chest. The halo round the head is elaborately carved and consists of full-blown lotus in the centre and three concentric bands of ornaments: (a) scroll work of ornamental foliage, (b) band of twisting rope pattern with rosettes at regular intervals, and (c) scalloped border. The left upper corner is broken while on the right is the figure of a Vidyadhara carrying a garland. The lions on the throne sit with their backs turned towards each other. The Jina on each side is flanked by the rampant lion figures. In the lower part of the throne is a wheel in centre which is being worshipped by the male and female devotees with their hands in adoration. The material is red sand stone and it measures 3' x 1'.9". J. 36 The provenance is Mathura. The importance of this image lies in the fact that this is one of the only two inscribed Jaina images of Gupta period so far found in India. The other being at Udayagiri in Malwa is. of 426 A.D. referring to the installation of an image of Parsvanatha (The Classical Age, p. 409). The present image represents a headless Tirthankara seated in meditation on a lion throne. He wears the usual Srivatsa mark on his chest. In the centre of pedestal is a wheel being worshipped by the devotees. kneeling with folded hands. The lions who are supporting the throne are sitting on two corners with their back turned to each other and also facing each other twisting their necks. The pedestal is inscribed and bears two lines in Sanskrit in Brahmi script of the 5th century A.D. Buhler in Epigraphia Indica, Vol. II, p. 210, No. XXXIX, reads and translates it as follows: 1 - siddham / paramabhaTTArakamAhArAjAdhirAjazrI kumAraguptasya vijayarAjyasaM (100 10) 3 ka... ntamA... (di)...sa 20 asyAM pU (vayAM ) koTTiyAgaNA R 2 - dvidyAdharI (to) zAkhAto dalilAcAyyaprajJapitAye zAmAyAye bhaTTibhavasya dhItu grahamitrapAli (ta) prA (tA) rikasya kuTumbinoye pratimA pratiSThApitA "Success In the year 113, in the victorious reign of the supreme king of great kings, the illustrious Kumaragupta, on the twentieth day (of the winter month) Karttika-on that (date,

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154 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME specified as) above an image was set up by Samadhya (syamadhya), daughter of Bhattibhava (and) house-wife of the ferry-man (?) Grahamittrapalita, who had received the command (to make the dedication) from Datilacayya (Datilacarya) out of Kottiya gana (and) the Vidyadhari Sakha." The inscription imparts useful information with regard to the contemporary organisation of the Jaina church. The material is red sand stone and it measures 3'.8" x 2.6". Its find spot is Kankali mound, Mathura. (Fig. 8.) J. 89 Fragment from the back slab of an image with a portion of the halo and upper part of a four-handed Naga attendant to the right. He has a seven-headed snake hood over his head and wears a string of circular beads round his neck. His forehead is also decorated with some ornament. He stands by a column the top of which is touched by his fingers. To the left of this attendant figure is seen a miniature lion which he holds with one of his left hands. The sculpture may represent a part of Neminatha image, showing Balarama as his attendant on his proper right. The halo is ornamented with a lotus in centre and surrounded by row of beads, twisting rope with beads and rosettes at intervals and a third band showing ornamental scroll work. The border represents the scalloped pattern. (For further details and specially iconography of Balarama fig. pl. see V. S. Agrawal's article in the Jaina Ant., Vol. VIII, No. II, p. 48). The material is red sand stone measuring 1'.21"x1'.21". Its exact locality is not known but it probably came from Mathura. . (Fig. 9.) J. 666 This large umbrella which must have been installed over some image or a stupa, as suggested by Smith (The Jaina Stupa and other Antiquities of Mathura, A. S.I., Vol. XX, p. 28, Pl. XXII), has been classified as a Jaina antiquity in the Museum records, although there is no definite proof to identify it as such. As an art piece this is one of the outstanding sculptures of the Mathura school. It provides a feast of varieties of motifs to our eyes. In all it has eight ornamented concentric bands with a round hole in the reception of the shaft. The first band is plain and is surrounded by the second band which represents three rows of lotus petals with their

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JAINA SCULPTURES OF THE GUPTA AGE : 155 points turned inwards. This is followed by another band showing vertical lines and the fourth one consists of more rows of larger lotus petals. The fifth band displays an undulating creeper with curling leaves. The sixth band consists of a twisting ornamental rope with six rosettes at regular intervals. The eighth band which is the last and outer band represents an ornamental rope showing a diamond cut pattern. This has got eight rosettes at regular intervals. Each of these rosettes has a hole in the centre which may point out the possibility of giving some additional support to bear the heavy load of the umbrella. At present this umbrella has been installed over two Tirthankara images in the Jaina Hall of the Archaeological section in this Museum. The material is red sand stone and it measures 4'.10" in diameter. It was found from the Jail mound at Mathura. .... (It is not possible to take the photograph of this piece owing to its present odd location.) 48-184 Slab showing a nude Jina standing in meditation. He has curly hair and elongated ears. His right hand is damaged and the lower portion detached. The mark of Srivatsa is also not visible at present. The museum records identify the deity as Mahavira but there is no cognizance without which it is not possible to give a correct identification. The sculpture may be assigned to the late 6th century A.D. The material is buff-coloured sand stone and it measures 2'x104". It was acquired from Rajaghata, Varanasi. (Fig. 10.) 49-199 Slab showing the Jina Ajitanatha standing in Kayotsarga pose. The pedestal represents his Lanchana, i. e., elephants who are standing face to face. Curiously enough the forehead of the deity is marked with a flower-shaped Tilaka ? The mark of the Srivatsa has not been given at its proper place, while the halo has been shown by an incised line. On the whole the image has been crudely modelled. It may be assigned to the late 6th or early 7th century A.D. The material is buff-coloured sand stone and it measures 3' x 10". It was acquired from Varanasi. (Fig. 11.) The Museum possesses some fine Tirthankara heads which bear the characteristics of the Gupta age as described above. I do not deem it necessary to describe them." * Photos by Shri P. C. Little.

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Jainism In Mathura In The Early Centuries Of The Christian Era B. N. PURI The importance of Mathura as a centre of Jainism in the early century of the Christian era is evident from the vast mass of Jaina inscriptions recorded on ayngapatas or tablets of homage, statues of Jaina Tirthankaras and fragments of a Jaina stupa recovered from the famous Kankali Tila in Mathura in the last quarter of the nineteenth century. It appears that this Pila or mound from where these remains were recovered was a Jaina sanctuary from the period of the Sunga dynasty, as is evident from an inscription' written in the Sunga type of the ancient Brahmi. It continued in the time of the Guptas, as brought out from a record2 dated in the year 97 which, on paleographic grounds, appears to be the late Gupta period. The mound, symbolising the ancient Jaina sanctuary, is reminiscent of the once flourishing Jaina Sangha, comprising of the monks, nuns, sravakas and sravikas. It is rather an unusual feature to trace certain names, which appear to be of foreigners. The records are probably dated in the Indo-Parthian www 1 H. Luders, Mathura Inscriptions, unpublished Papers, ed. by K. L. Janert, p. 42. From the inscriptions at the site it appears that there was a Jaina sanctuary from the period of the Sunga dynasty. 2 Ibid., No. 23, p. 53.

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JAINISM IN MATHURA IN THE EARLY CHRISTIAN ERA : 157 era, and so the donors appear to be foreigners who had come to Mathura and accepted Jainism. This assimilation of the foreigners in the fold of Jainism belies the notion that Jainism was confined only to the land of its origin. The famous story of Kalakacarya, the Jaina saint who brought about the downfall of the Gardhabhilla dynasty through the help of the Sakas of Seistan, points to the contacts established between Jaina saints and foreigners, some of whom may have been attracted to it. Mathura, known as Sauripura or Suryapura to the Jainas5 seems to have been frequented by the Jaina monks from the north-east, i. e., from Magadha, after the famous famine described in the Jaina scriptures. The Jainas established themselves there about the middle of the second century B.C. The Amohini Tablets is a shining example of the existing nature of Jainism in the first century B.C. The inscriptions from Kankali Tila also mention some unfamiliar names like Akaka and Ogha?-names of ladies, probably of foreign origin--whose dedications speak of their acceptance of Jainism. The composition of the Jaina religious orders into several schools known as ganas with their different kulas and sakhas and sambhogas is brought out by the records of the Kusana period which is corroborated by the evidence from the Kalpasutra. The three prominent ganasbeing Kottika, Varana or Carana and Arya-Uddehikiyalo. Another one Vasavadiya is implied with reference to its kula mentioned in a record.11 The different kulas associated with the Kottika gana were Brahmadasika, Thaniya, Vacaliya and Prabahaka (Prasnavahanaka) with their corresponding sakhas-Ucenagari, Aryavairi or Vairi and Majhmia. The heads of the Aryavairi were Aryya Pusila (Arya Pusyala) and Vshatavacaka Jayamitra in the years 12 and 2012 respectively of 3 Dr. Bhandarkar Volume, p. 288. 4 Vikrama Adventures, Introduction. 5 SBE, XLV, p. 112. 6 EI, II, p. 204, No. 20. 7 Luders' List of Inscriptions, Nos. 48, 29, 43. 8 Ibid., Nos. 17, 18, 19, 20, 22, 25, 27, 28, 29, 33. 9 Ibid., Nos. 18, 34, 37. 10 Ibid., No. 21; IA, III, p. 105, No. 23. 11 EI, I, p. 282, No. 2. 12 EI, II, p. 203, No. 18; EI, I, p. 383, No. 4.

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158 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME the Kusana era. The Kottika gana, according to the Kalpasutra13, was founded by Susthita and Supratibuddha, surnamed Kautika and Kakandaka. It was divided into Ucenagari, Vidyadhari, Vajri and Madhyamika sakhas and Brahmaliptaka, Vatsaliya, Vaniya and Prasnavahanaka kulas. This school continued to exist in the Gupta period as it is mentioned in an inscription dated in the year 11314 of the Gupta era. It refers to the setting up of an image by syamadhya under instructions from Datilacarya of the Kottiya gana and Vidyadhari sakha. The head of the Carana or Varana gana of the Kalpasutra was Aryadatta in the year 2015 and a little more than twenty years later its great preacher was Dinarya. This school was divided into four sakhas and seven kulas. The gana was founded by Sri Gupta of the Hari gotra, according to the Kalpasutra. A good many sakhas and kulas of this gana or school are noticed in the Kusana records as, for example, Pusyamitrika, Aryacetaya, Kamajasika, Petivamika and Arahattiya. Some kulas are, however, left out. The Arya-Uddehikiya gana with its Nagabhutikiya kula identified with Nagabhuya kula of the Uddeha gana had Buddhasri as its head in the year 716 and Devadatta in the year 90 17 of the Kusana era. This gana was founded by Arya Rohana of the Kasyapa gotra and was divided into six kulas and four sakhas out of which only two kulas are mentioned in records. The Mehika kula of the Vasavadiya gana was founded by Kamarahi of the Kundala gotra. It is mentioned in a record of the year 15.18 These ganas or schools with the different kulas, sakhas and sambhogas created an atmosphere of good will and there is hardly any instance of bitterness in their relations with each other or with Buddhism and Brahmanism, the two other flourishing religions at Mathura. Out of the records of dedications of statues of Jaina 13 SBE, VIII, p. 231. 14 EI, II, p. 210. 15 EI, II, p. 206, No. 26; Ibid., No. 36. For the division of this gana into kulas and sakhas--see Kalpasutra, VIII, p. 320. For a study of the Jaina ganas see also Buhler : The Indian Sect of the Jainas. 16 EI, I, p. 391, No. 19. 17 IA, XXXIII, p. 105, No. 23. 18 EI, I, p. 282, No. 2.

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JAINISM IN MATHURA IN THE EARLY CHRISTIAN ERA : 159 Tirthamkaras, including half-a-dozen dated ones, associated with the last one Mahavira, two refer to the setting up of four-fold image (Sarvatobhadra-pratima), and one each record the setting up of statue of santinatha, Sambhavanatha, Rsabhanatha and Munisuvrata. The statue of Vardhamana was set up for the Kottiya gana and the Brahmadasika kula in the year 519, and for the Sthaniya kula of the same gana in the years 20 and 3520. The three statues of Vardhamana were meant for the Varana gana and Petivamika and Pusyamitrika kulas in the year 22, 29 and 5021 The donors were mostly pious female devotees. The same ganas were also associated with the setting up of statues of other Tirthamkaras, and sometimes the donor was the same, as, for example, Datta dedicated an image of Rsabha in the year 60, and earlier in 4922 she had set up an image of Arhat Munisuvrata. A statue of Sarasvati was consecreted at the instance of the preacher (Vacaka) Aryadeva of the Kottiya gana. Some of the records refer to the setting up of statues of Jaina Arhats whose names are not mentioned, tablets of homage (ayagapatas) and pillars. Jainas, no doubt, consecrated images of their Tirthankarasthe earliest instance being that of the image of Rsabhadeva which was taken away by the Nandaraja, and brought back by King Kharavela of Kalinga.23 Kautilya also refers24 to the images of Jaina gods-Jayanta, Vaijayanta, Aparajita and others. Thus, the antiquity of Jaina image worship could be pushed to about the 4th century B.C. There is no record of the setting up of statues of all the twentyfour Tirthankaras in the Kusana period. That of Parsvanatha is clearly distinguished by a canopy of snake hood over his head. Lay devotees were responsible for these dedications done at the instance of some teacher or preacher. These devotees include both male and female lay-hearers-some of them belonging to the professions of iron-mongers (lohakara), carpenters (vardhakin) and perfumers (gandhika).25 Courtesans (gaaikas) also shared in these 19 EI, I, p. 381, No. 1. 20 Ibid., p. 305, No. 27; p. 386, No. 7. 21 Ibid., p. 391, No. 20; p. 385, No. 6; Vol. II, p. 206, No. 36. 22 EI, II, p. 204, No. 20. 23 Luders' List, No. 1345. 24 Bhattacharya-Jaina Iconography, p. 37. 25 Luders' List, Nos. 53, 54, 55, 10, 20, 53, 1907, 37, 39, 76, 102.

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160 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME dedications. It seems that caste factor did not figure in the Jaina religious order. We hear of saint Harikesin Bala hailing from a Candala family.26 Thus, even men of low birth could aspire for a high status through intellectual attainments. Nor were dedications by fallen but religious-minded women wanting. If Buddha could accept the hospitality of the famous courtesan of Vaisali-Ambapali, we have an interesting example of the setting up of a shrine (devakula) of the Arhat Vardhamana, a hall of homage (ayagasabha), a reservoir (prapa) and stone slabs (silapata) in the Arhat temple of the Niganthas, by the lay-disciple of ascetics (samanasavika), the courtesan (gaaika) Nada-Vasu, daughter of the courtesan Ada Lonasobhika27, together with some of her relatives, for the worship of the Arhats. The Jaina devotees also set up tablets of homage (ayagapatas) 28 with the Yogi type of the seated Jina, the highly ornamented trisulas, and sacred symbols. One tablet gives an interesting view of a Jaina stupa enclosed in a railing with a gateway (torana). These ayayapatas or tablets of homage were set up for the worship of all Arhats, invoking their blessings. The Jainas also raised stupas over the ashes of a chief or religious leader. These numerous items of dedication were part of the activities of the Jainas in Mathura who catered to the wishes of the Jaina preachers from different schools and families. The Tirthankaras enjoyed the respect and adoration of all the schools. Among the preachers whose names appear in more than one record are-Arya Baladina, Arya-Deva, Arya-Kseraka, Mihila and Nagadatta. The role of women as nuns (sisyini) or lay devotees (sraddhacari) was fairly important. The latter had not renounced their family ties, but were deeply religious and firm. They created endowments. There are many references to Jaina nuns. The heads of schools had female disciples receiving religious instructions. Okha of an earlier record, probably an Indo-Parthian, Amohini of the Ksatrapa period, Kumaramitra, Vasula, Sanghamika, Jinadasi, Balavarma and Deva29 contributed a lot as members of the Jaina order--dedicating themselves and persuading others in the path of religion. There is no reference to a female preacher in the records. 26 Uttaradhyayana Sutra, 12. 1. 27 Luders' List, No. 102. 28 EI, II, p. 190, No. 2; p. 202, No. 5; EI, II, p. 396, No. 23. 29 Luders' List, Nos. 39, 24, 70, 50, 48, 28, 47.

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JAINISM IN MATHURA IN THE EARLY CHRISTIAN ERA : 161 It is rather interesting to notice foreign elements in Jainism. It has been suggested earlier that about the first century B.C. there were certain Parthians who had accepted Jainism and set up dedications. Okharika and Ujhatika do not appear to be Indian names, while Dimitra could be the Indianised form of Demetrius. The inscriptions from the Kankali Tila, supposed to represent the site of some Jaina establishment30 also mention some unfamiliar names, like Akaka and Ogha.31 It is, therefore, very likely that foreigners too were accepted in the Jaina fold which had also eliminated caste-consciousness in the choice of the selection of head of religious schools. Mathura continued to be an important centre of the Jainas in the Gupta period. In fact the Kankali Tila, symbolising the Jaina monastic establishments, is supposed to have met its fate at the hands of the Mohammadan invader Mahmud of Ghazni, who invaded this sacred city and destroyed everything that came in the way of his iconoclastic zeal. 30 See Smith-The Jaina Stupa at Mathura, Pl. LXII; cf. Janert, op. cit., p. 41. 31 Luders' List, Nos. 48, 29, 43. POCA G.J.V. 11

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Some Inscriptions and Images on Mount Satrunjaya AMBALAL PREMCHAND SHAH THE age of antiquity or ancient monuments is generally inferred from the styles of architecture and sculpture and on the basis of available inscriptions. Since the temples at Satrunjaya were renovated from time to time through many centuries very little evidence of antiquity has been left for us. For want of published old inscriptions, sculptures in temples, scholars came to believe that the temple-city of Satrunjaya could hardly claim to be earlier than or even as old as the Jaina-temples-site of Delvada, Mount Abu. One can see several streets and rows of temples and images on Mount satrunjaya. A common man can hardly make any distinction between the earliest and the latest specimens of art among the hundreds and thousands of images in this temple-city, where no human habitation is allowed. But the searching eye of a historian is on the look-out for all stray old inscriptions and specimens of art. According to literary traditions, satrunjaya is an ancient tirtha of the Jainas. In the Jnatadharmakatha, a Jaina canonical text, it is referred to as Pundarikagiri.1 In later Jaina literature, this place is 1 Sutras 55, 56, 60, pp. 109, 112. Abhayadeva, the Commentator, has identified Pundarikagiri with modern Satrunjaya (p. 111 A).

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SOME INSCRIPTIONS AND IMAGES ON MOUNT SATRUNJAYA : 163 associated with some auspicious events in the life of Rsabha, the first Tirthankara. It is also said that a temple was dedicated to Rsabhanatha, on this mountain. Pundarikasvami, the first Ganadhara of Rsabha, obtained emancipation on this sacred mountain and a memorial to him, in the form of a shrine with his image, was raised here. Since then, the mountain came to be called Pundarikagiri.? We shall now refer to a few images and inscriptions which throw more light on the art and antiquity of this site. Fig. 1 illustrates a beautiful marble image of Pundarikasvami installed in the first cell adjacent to the staircase, beside the main entrance to chief shrine of Rsabhanatha (Adinatha) on this mountain. This sculpture, fortunately well-preserved, is about 2.5 feet in height and about 1.5 ft. broad at base. The pedestal or the lowermost part of the sculpture has an inscription in four lines.3 A big lotus with an ornamental long stalk springs from the top of the pedestal, and divides the whole sculpture into two sections. The upper section shows a figure of Pundarikasvami, sitting in the padmasana, dhyanamudra, on a cushion-like seat placed on the full-blown lotus. There is a back-rest whose two ends show lions supporting the horizontal bar resting on two pillars. Above are two divine garland-bearers, and on top the chatra or the umbrella. The figure of the Ganadhara could easily be mistaken for that of a Tirthankara, if the inscription had not specifically shown that it represented Pundarikasvami. Below the lotus, the two sides of the stalk further form two sections, the centre being occupied by the sthapana. To the right of the sthapana sits a Jaina monk, a Guru, in the act of giving a discourse to the two disciples sitting in front, with folded hands, on the other side of the sthapana. This is one of the finest examples of sculptural art of Gujarat in V. S. 1064 (=1006 A.D.), the date of the inscription. Unfortunately part of the beauty of this sculpture is marred by modern black paints, 2 For a fuller account, see Shah, Ambalal Premchand, Jaina Tirthasarvasamgraha (in Gujarati, Ahmedabad), pp. 98-108. 3 The inscription was first published by Shah, Umakant Premanand, in Jaina Satya-Prakasa (Gujarati Journal, Ahmedabad) Volume 17, No. 3, pp. 51-58. For understanding the symbolism of Sthapana (also called Sthapanacarya) see, Shah, U.P., Studies in Jaina Art (Banaras, 1955), pp. 113-115.

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164 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME glass eyes, and studded metal pieces on different parts of the body of Pundarikasvami and the two smaller figures. This is a practice which has undermined the beauty of many a Jaina sculpture, old or new. The inscription reads as under: (1) zrImadyugAdidevasya puMDarIkasya ca kramau / dhyAtvA zatrujaye zuddhayan sallekhAdhyAnasaMyamaiH // 1 // zrIsaMgamasiddhamunirvidyAdha(*)rakulanabhastalamRgAMkaH / divasaizcaturbhiradhikaM mAsamupoSyAcalitasattvaH // 2 // varSe sahastre SaSTayAM caturanvitayAdhike divamagacchat / (*)ACH STETTUATE curfedari ll R 11 ammeyakaH zubhaM tasya shresstthirodheykaatmjH| puMDarIkapadAsaMgi caityametadacIkarat // 4 // caturmiH kalApakaM / / According to the inscription, Muni Sangamasiddha, moon of the firmament of the Vidyadhara-Kulas, meditated on mount satrunjaya, before Yugadideva (Adinatha) and Pundarika. Having purified himself by the practice of austerities and sallekhana, observing dauntlessly his fast for a month and four days, attained to Heaven on Monday the second day of the dark half of the month of Margasirsa, in V. S. 1064. Sresthi Ammeyaka, son of Rodheyaka, caused to build this shrine and (consecrate) the image, for his own merit. This Muni Sangamasiddha is probably the grand-teacher of Padalipta, the author of Nirvanakalika.. This is the earliest known inscribed and dated image available at Satrunjaya. It is important also as a fine specimen of art. Fig. 2, preserved in a cell on the right side of the northern part of the circumambulatory passage of the main shrine, represents a householder, i. e. 'a sravaka, a Jaina lay worshipper. The inscription on its pedestal shows that this is a statue (a portrait sculpture ?) of sresthi Narayana. 5 One of the four ancient lineages of Svetambara Jaina monks. 6 Compare the colophon of Nirvanakalika, wrongly ascribed to the first Padalipta, who is said to have flourished in c. 2nd century A.D. But Dr. U. P. Shah, in his "Iconography of the Jaina Goddess Ambika", Journal of the University of Bombay, September 1940, p. 159, f. n. 6, pointed out that Nirvanakalika was a work of c. eleventh century A.D.

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SOME INSCRIPTIONS AND IMAGES ON MOUNT SATRUNJAYA : 165 On a raised cushion, surmounted by a design looking like petals of a full-blown lotus, sits Narayana in the anjalimudra (with folded hands), in the lalita-posture, i. e., with his right-foot hanging and the left tucked up. He wears ornaments like armlets, bracelets, anklets, an ornamental broad girdle, necklaces and big circular ear-rings. He has a long beard, whether or not he had moustaches in the original is difficult to ascertain on account of the modern black paint, but it is probable that the paint is on the original mustaches. His hair are tied into a small top-knot on the head, on each side of which is a divine garland-bearer. This is unusual, since a lay-worshipper is not known to have been accompanied by heavenly attendant maladharas. The marble sculpture is a beautiful specimen of secular sculpture of the eleventh century A. D. The two-line inscription on the pedestal reads as follows: (2) zrIjajanAgakaniSThasya kapardijanakasya nijapiturvAsya zre. nArAyaNasya mUrti[:] nivesi(zi)tA siddha-vIrAbhyAM saM0 1131 // According to the inscription, this statue of sresthi Narayana, the younger brother of Jajanaga, and father of Kapardi, was set up by Siddha and Vira in (Vikrama) Samvat 1131 (i. e. 1075 A.D.) Fig. 3 represents a twelve-armed Goddess who is well-known as Mahisa-mardini in Hindu traditions and as Saccikadevi in Jaina traditions. It is a beautiful marble sculpture of the goddess in bold relief, the back showing a trefoil-like arch surmounting two pillars and thus suggesting that the Goddess is placed in a miniature shrine. On top of the sculpture, in the central part of the arch, is a miniature shrine with a Jina sitting in it. The Mahisa-demon is an excellent specimen of animal-sculpture. The figure of the goddess, with her one foot trampling on the buffalodemon pierced by her long trident, is a work of superior workmanship, full of life and vigour and beautiful modelling. In her right hands, the goddess shows the sword, the disc, the trident, the arrow and the varada-mudra, while in the left ones she holds the shield, the vajra-ghanta (combination of thunderbolt and bell), the mace, the conch, the bow and the head of the personified demon (placed on the buffalo-demon). The ornaments and the modelling deserve comparison with the famous Sarasvati from Pallu in the old Bikaner State, now preserved

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166 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME in the National Museum, New Delhi. The sculpture must be assigned to a period c. 1000-1050 A.D. The small figure of a female worshipper on the lower end of the left pillar deserves notice as a fine specimen of miniature figure and on account of the mode of representing the scarf or odhani covering the head and the back. The inscription on the pedestal reads as follows: (3) saMvat 1371 varSe mAhasudi 14 some zrImadUkezavaMze vesaTagotrIya sA0salaSaNaputra sA0AjaDatanaya sAgosala bhA0guNamatakukSisaMbhavena saMghapati sA0AzAdharAnujena sAblUNasiMhAgrajena saMghapatisAdhudesalena putra sA0sahajapAla sA0sAhaNapAla sA0sAmaMta sA0samarA sA0sAMgaNapramukhakuTuMbasamudAyopetena nijakuladevIzrIsaccikAmUrtiH kAritA / yAvad vyomni candrAU yAvad merumahIdharaH / tAvat zrIsaccikAmUrtiH // The inscription shows that this image of Saccikadevi was set up by Samghapati Sadu Desala, the elder brother of Lunasimha, and younger brother of Asadhara. He was son of Ajada and grandson of Salaksana and belonged to Vesata-gotra of Ukesa lineage. He, along with other members of the family and his sons Sahajapala, Sahanapala, Samanta, and Sangana, set up this image of the family deity Saccikadevi, in the year 1371 V. S. (= 1314 A.D.) There is a shrine of Saccikadevi at Osia in Rajasthan. The Ukesa lineage is named after this ancient town which was known as Ukesa or Upakesa-pura. The Oswala banias are named after this Osia and are supposed to have hailed from this town. At Osia also, the Saccikadevi image represents the form of Mahisamardini. Fig. 4 represents statues of Minister Samarasimha and his wife Gugan. This is an important sculpture of the famous "Samara-saha" who renovated, in V. S. 1371, the various shrines at Satrunjaya. A detailed account of this minister, his lineage and his family is available in Nabhinandana-jinoddhara-prabandha. The minister stands with folded hands, while his wife carries a purse (money-bag) in her right hand and a cup or bowl containing sandal-wood and saffron-paste for worship is held in her left hand. The dress and ornaments of both the figures deserve notice. Desala, referred to in the inscription on fig. 3 above, is the father of this Samarasimha. The inscription on fig. 4 runs as follows:

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SOME INSCRIPTIONS AND IMAGES ON MOUNT SATRUNJAYA: 167 (4) saMvat 1494 varSe baizApamu0 10 gurau saMghapati- dezalasutasamarA tatpatnIgugAM sA0sAliMga sA0 sajjana siMhAbhyAM kAritaM pratiSThitaM bhIkakasUriziSyaiH bha0devaguptasUribhiH / zubhaM bhavatu // Fig. 5 shows a part of a beautiful metal sculpture representing one figure of a Jina in the centre, and two smaller Jina-figures on two sides above the halo of the bigger Jina. A two-armed Kubera-like Yaksa sits on a lotus to the right of the main figure, while on the corresponding left end we find a two-armed Yaksi Ambika sitting in the lalita-posture. There is no inscription on this image, but on stylistic grounds it can be assigned to c. tenth century A.D. or a little earlier. Unfortunately the present whereabouts of the bronze known, but the present writer had once seen it in one of the temples on Mt. Satrunjaya. A new photograph of the whole figure is thus not possible and only this photograph of a part of it, obtained from the Sheth Anandji Kalyanji's Pedhi, Ahmedabad, is reproduced here. It will however be seen that the bronze is a beautiful specimen of metal sculpture in Western India. We have noted above four inscriptions from this site. A few more. inscriptions ranging from V. S. 1207 to c. 1405 A. D. are noted below. Inscription no. 5 is on a metal image in Shrine No. 302 situated on the left side of the chief gate of the main temple of the Caumukha Tunk. The inscription reads as under: (5) zrI siddhahemakumAra saM0 4 vaizApava 2 gurau bhImapallIsalka (1gaccha) vyava0harizcaMdrabhAryAguNade vidheyortha zrIzAMtinAthabiMbaM kAritaM // According to this inscription, this image of Sri Santinatha was installed for the spiritual benefit of Gupadevi, wife of merchant Hariscandra belonging to the Bhimapalli-gaccha. The image was consecrated on Thursday the 2nd day of the dark fortnight of the month. of Vaisakha in the year 4 of the Siddha-Hema-Kumara Samvat. This is a very important inscription, first noticed by Muni Sri Punyavijaya and published by him in the Jaina Satya Prakasa, Vol. VIII, No. 1 (Ahmedabad, 1943), pp. 259-261. The metal image must be very carefully preserved, being the only known inscriptional evidence of the Siddha-Hema-Kumara Era. Three great personalities of the history of Gujarat are associated in the name of this Samvat (Era). One is Siddharaja Jayasimha, the second is Acarya Hemacandra and the third is king Kumarapala of Anahillapura-Patan. The era seems to have started with the death of

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168 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME king Siddharaja Jayasimha and the accession of his successor Kumarapala in Vikrama Samvat 1199. The name of Hemacandra, the great scholiast and monk whom both the above rulers highly respected, is also associated with this era. Hemacandra himself, in his Abhidhanacintamani (6.171) composed in V. S. 1207-8, mentions this era in the following way while explaining saMvat = varSaH - yathA vikramasaMvat siddhahemakumAra saMvat / " Ef The metal image should thus date from V. S. 1203. No other inscription referring to this era is yet known but one would not be surprised if some more inscriptions dated in this era are discovered. in future. It seems, however, that the era ceased to be in use, soon after the deaths of Hemacandra and Kumarapala since no other inscriptions posterior in age to these personalities are known to have referred to it. On the contrary almost all such inscriptions refer to the Vikrama era, or in a few cases to the Saka era. Even in colophons of old manuscripts we do not find any dates in this era. Inscription No. 6, from Shrine No. 280, reads as follows: ? (6) saM0 1228 jyeSThamudi 10 zano zrIdevanaMdakIyagacche pahudevena pituH pAla [ 1 sya ] zreyase pratimA kAritA / The image was caused to be made by Pahudeva of the Devanandakiyagaccha, on Saturday, the tenth day of the bright half of the month of Jyestha, in V.S. 1228, for the spiritual merit of his father Pala. Inscription No. 7 is on a mutilated image stored in one of the underground chambers. The inscription reads as follows: (7) saMvat 1273 varSe kArtikazudi 1 gurau zrIdhaMdhukake zrIvAyaTIyagacche paM0 AsacaMdra padamayoH ziSya paM0 yazovarddhanasya mUrtiH kArApitA bhrAtRputra paM0padmacaMdreNa / maMgalaM mahAzrIH / ciraM naMdatu // According to this inscription, this image of Pandita Yasovarddhana, disciple of Pandita Asacandra and Padama of Vayatiya gaccha and hailing from (belonging to) the town of Dhandhukaka, was set up by Padmacandra, the (spiritual) son of his brother (i.e. the disciple of his monk brother), on Thursday, the first day of the bright fortnight of the month of Kartika in V. S. 1273. 7 Devanandakiya-gaccha is mentioned in the colophon of the palmleaf manuscript (V. S. 1194) of Pramanantarbhava, at Jesalmere. The colophon also says that Devanandagaccha is a sub-gaccha of Harijya-gaccha, cf., Jaina-Pustaka-Prasasti-Samgraha, p. 104.

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Fig. 1. Image of Pundarikasvami, Satrunjaya (d.V.S. 1064) RAM NEOME 16 Clado aruan (romasa mathman Fig. 2. Sculpture of Sresthi Narayana, Satrunjaya (d. V. S. 1131) (See p. 162)

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Fig. 3. Image of Mahisamarddini, Satrunjaya (dated V. S. 1371) Fig. 4. Sculpture representing Minister Samarasimha and his wife (d. V. S. 1414)

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Fig. 5. Jaina Metal Sculpture, Satrunjaya

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SOME INSCRIPTIONS AND IMAGES ON MOUNT SATRUNJAYA : 169 Inscription No. 8 is from a mutilated statue of a Jaina householder (sravaka) in standing posture, found from an underground chamber. It reads as follows: () # 8783 at 113 ICHTA FEO ... ... ...ga HE THARU afa: sutajagapAlena kAritA // According to this inscription, this statue of Minister Prabhasa, son of.........., was set up by his son Jagapala of the village of Padra, on the seventh day of the bright fortnight of the month of Phalguna in V. S. 1313. Inscription No. 9 is obtained on the image of a monk in Shrine No. 701 (Old No. 626). This was read as follows: (9) saM0 1342 mAghazudi 8 zukre zrInAgeMdragacche pUjyazrIguNasenasUrINAM mUrtiH paM0rAmacaMdreNa svaguruzreyase iyaM mUrtiH kAritA pratiSThitA shriijinn(n)bhdrsuuribhiH| caMdrAkai yAvat naMdatAM // According to the inscription, this image of venerable Sri Gunasenasuri of Nagendragaccha was caused to be made by Pt. Ramacandra for the spiritual merit of his preceptor, on Friday, the eighth of the bright half of the month of Magha in V. S. 1342, and installed by Sri Jinabhadrasuri. Inscription No. 10 is from a mutilated Jina-image in an underground chamber and was read as under: (80) #8804 at Arutele so at sitatea maraietarai...... .[ A ] mAladevasuta mahaM0sAMgaNena svamAtRbAyIhIranazreyase zrIajitanAthabiMbaM kAritaM // According to it, this image of Ajitanatha was set up by minister Sangana, son of minister Maladeva, resident of Posinana for the spiritual welfare of his mother Bayi Hirana, on Monday, the tenth of the dark half of Margga in V. S. 1405.

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The Kuvalayamala and Modern Scholarship A. N. UPADHYE THE Kuvalayamala of Uddyotanasuri (A.D. 779) is an important Prakrit Campu, having a distinctive position in Indian literature. The Prakrit text is critically edited by me and lately published in the Singhi Jaina Series, No. 45, Bharatiya Vidya Bhavana, Bombay 1959. It is necessary and interesting to review the studies of modern scholars in connection with the Kuvalaya mala mainly with reference to some of its significant passages. The attention of modern scholars was attracted towards this work only after the Ms. P (No. 154 of 1881-82) was secured for the Collection of Mss. of the Government of Bombay, then belonging to the Deccan College, Poona, and now deposited in the Bhandarkar Oriental Research Institute, Poona. (H. D. VELANKAR : Jinaratnakosa, Poona 1944, p. 94, gives reference to KIELHORN III, A List of the third Collection of 1881-1882. Dr. P. K. GODE kindly' informed me that the entry regarding Ms. No. 154 of 1881-82 stands thus, p. 207 : "[Name] Kuvalayamala (in Prakrit) [Author] Uddyotanasuri, Leaves 133, slokas 10,000, No. 154 of 1881-82.") In the Jaina Granthavali (published by Sri Jaina Svetambara Conference, Bombay 1909, p. 222) there are references to the Prakrit Kuvalayamala of Uddyotanasuri and the Sanskrit Kuvalayamala of Ratnaprabha, the sources of the information being the BIhattippanika and the Deccan College Lists. The Ms. of the former in the Deccan

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THE KUVALAYAMALA AND MODERN SCHOLARSHIP: 171 College (Kantivijayaji ?) and of the latter in Cambay and Ahmedabad. are mentioned. The attribution of the authorship of Kuvalayamala to Indrasuri is based on a wrong reading in an extract given by P. PETERSON from the Santinathacarita of Devacandra. (A Fifth Report of operation in search of Sanskrit Mss. in the Bombay Circle, Bombay 1896, p. 73.) The Kuvalayamala-katha, a stylistic Sanskrit digest of the Prakrit work of Uddyotana by Ratnaprabhasuri (e. middle of the 13th century A.D.) was edited by Muni CHATURAVIJAYA from three Mss. and was published in 1916 (Sri-Jaina Atmananda Sabha, Bhavanagar 1916. A revised edition of this work is lately published along with the Prakrit text referred to above, and also separately issued, Bombay 1961). The prastavana (in Sanskrit) of this volume introduces most exhaustively, for the first time, the earlier Prakrit work of Uddyotana quoting its significant extracts from the Poona Ms. which correspond to the following passages in my edition: p. 282, 1. 6 to the end of paragraph 432 (omitting a few verses vamdami savva-siddhe to [pani] vayami); p. 173, I. 31 to p. 174 l. 6; p. 1, 1. 2 to 1. 8; and p. 3, 1. 14 to p. 4, 1. 14. A bare outline of the story is indicated; and significantly enough it is stated that Haribhadra, who is styled as bhava-viraha is earlier than Uddyotana. and not at all a contemporary of Siddharsi, the author of the Upamitibhava-prapafied kathd. The extracts given in this Introduction attracted the attention of various scholars who used some of these references in their studies. It was in 1916 that the Kavyamimamsa of Rajasekhara ed. by C. D. DALAL and R. A. SHASTRY was published (Gaekwad's Oriental Series, No. 1, Baroda 1916; p. 124 of the Re-issue, Baroda 1924; pp. 204-5, 3rd ed., Baroda 1934); and in its Notes were given extracts from the Kuvalayamala based on the Ms. P and corresponding to our text, p. 3, 1. 18 to p. 4, 1. 2, which attracted the attention of some other scholars towards the Kuvalayamala (N. PREMI: Padmacaritam, Bombay 1928, Intro. p. 2; A. N. UPADHYE: Annals of the B.O.R.I., XVI, i-ii, p. 62; also the Varangacarita, Bombay 1938, Intro. pp. 9-10). MUNIRAJ SHRI JINAVIJAYA read a paper (in Sanskrit) at the First [All-India] Oriental Conference (Poona 1919) on The Date of Haribhadrasuri'. (Separately issued, pp. 1-23, in the Jaina Sahitya Samsodhaka Granthamala, Poona.) It is an exhaustive paper which scrutinises the views of earlier scholars, lists the works attributed to Haribhadra, enumerates the traditional sources for his biography, and takes up for discussion the traditional date, A.D. 529, assigned to him, Siddharsi's (A.D. 906) reference to him as me dharma-prabodhakaro

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172: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME guruh and consequent conclusion of H. JACOBI that Haribhadra was a senior contemporary and guru of Siddharsi. JINAVIJAYA shows that Gargarsi was the guru of Siddharsi and correctly interprets the latter's reference to Haribhadra. It is in this context that he quotes the Kuvalayamala (p. 4, 1. 2) and reaches the conclusion that Haribhadra, the author of the Samaradityakatha, could not be later than A. D. 778. Then he studies the various references from Haribhadra's works, quotes an extract from the Kuvalayamala (corresponding to p. 282, 1. 6 to 1. 20) from the Ms. P, and assigns Haribhadra to A.D. 700-770. In the appendix the chronological relation of Haribhadra with santaraksita, Dharmottara, Mallavadi and Samkara are indicated. The Brhattippanika is an old list of Jaina works prepared in Samvat 1440, i.e., A.D. 1383, by some Jaina monk acquainted with the Mss.-collections at Pattan, Cambay and Broach etc. (but not Jaisalmer). It was used by the compilers of the Jaina Granthavali, noted above. It is published (based on the Mss., three to four hundred years old, belonging to the Collection of Sri Kantivijayaji Jaina Jnanamandira, Baroda) by Muni JINAVIJAYA (Jaina Sahitya Samsodhaka I, 2, Poona 1920, Supplement pp. 1-16; see also Ibidem I, 4, pp. 157-58). Therein the references to the Kuvalayam ala (p. 10) stand thus: R20. STATO IT. T [# (?)] <34 ao sentaa aa 3000|| 321. kuvalayamAlA saM0 ratnaprabhasUrIyA 3894 / A Catalogue of Manuscripts in the Jaina Bhandars at Jaisalmer, compiled by C.D. DALAL and edited with Introduction, Indexes and Notes on unpublished works and their authors by L. B. GANDHI was published in 1923 (G.O.S., No. XXI, Central Library, Baroda 1923). It presents the entry of the Ms. of the Kuvalayamala in this manner (p. 27) : PPS. STA of haat (391701) . 254 leaves. 23x21. Col. : iti kuvalayamAlA nAma saMkIrNa kathA. saMvat 1139 dAtu (Asu) vadi 1 ravidine likhitamidaM pustkm| In this Sanskrit Introduction and its notes (pp. 42-43) Pt. GANDHI gives some bits of information about this work (possibly based on the extracts from the Poona Ms. quoted by the editor in the Introduction to the edition of its Sanskrit digest by Ratnaprabha published from Bhavanagar and noted above), especially quoting references to Uddyotana by Ratnaprabha and Devacandra. (PETERSON in his Fifth Report, already noted above, gave an extract from the Santinathacarita of Devacandra (A.D. 1103). He read the name of the author as Dakkhinnaindasuri. Pt. GANDHI reads indha for imda. Prabhacandra (A.D. 1277) reads the name Daksinyacandra. That only shows how the original reading Dakkhinnaimdha was not correctly understood.)

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THE KUVALAYAMALA AND MODERN SCHOLARSHIP: 173 H. JACOBI completed his edition of Haribhadra's Samaraiccakaha, Vol. I, Text and Introduction, in 1926 (Bibliotheca Indica, Work No. 169, Calcutta 1926); and in his Introduction (pp. ii & iii), while reviewing the earlier discussion and accepting the revised date of Haribhadra (c. A. D. 750) as proposed by Muni JINAVIJAYA in his paper presented to the First Oriental Conference, Poona (1919), he discusses the exact date of the completion of the Kuvalayamala as specified by its author, ascertaining it as 21st March, 779 A. D. There is an exhaustive essay in Gujarati on the Kuvalayamala by JINAVIJAYA (See Jaina Sahitya Samsodhaka III, 2, pp. 169-94, Poonal Sam. 1983, i.e., A.D. 1927; also Vasantarajata Smarakagrantha, Ahmedabad 1927; its English summary by A. S. GOPANI in Bharatiya Vidya II, 1, Bombay 1940). Giving an outline of the Jaina narrative literature with pointed reference to certain works of which the Taramgaval of Padalipta and Samaraiccakahd of Haribhadra are introduced in details. The controversy about the date of Haribhadra and the latest conclusion are reviewed. Then follows an account of the Kuvalayamala based on the study of relevant sections from the Mss. from Jaisalmer (of which a set of Photographs was in the possession of Muni JINAVIJAYA and another set is in the Oriental Institute, Baroda) and Poona, especially the Prasasti portion (SS 430 with variants of P noted in the foot-notes) which is translated into Gujarati with valuable explanatory comments. on some of its references to Toramana, Pavvaiya, Jabalipura, Gupta etc.. (A. M. GHATGE: Narrative Literature in Jaina Maharastri, Annals of the B.O.R.I., XVI, i-ii, p. 34; N. C. MEHTA: Jaina Record on Toramana, J. of. the Bihar & O. R. S. XIX, 1928, and Toramana visayaka Jaina ullekha, Jaina Siddhanta Bhaskara, XX, 2, pp. 1-6, Arrah 1953). Pt. L. B. GANDHI edited three Apabhramsa works of Jinadattasuri, a senior contemporary of Hemacandra, in the G. O. S. (Apabhramsa Kavyatrayi, G. O. S., XXXVII, Baroda 1927). As an appendage to his Introduction (in Sanskrit), he has added a well-documented essay (in Sanskrit) on the Apabhramsa language. He explains incidentally the background of Prakrit, its relation with Sanskrit and the nature of Ardhamagadhi. In the context of the discussion about Desibhasas, he has introduced in details the Prakrit Kuvalayamala and has quoted a number of passages from it from the Jaisalmer Ms. (giving reference to its palmleaves) and they correspond to our text, in the order they are. quoted, as below: [p. 89, f. n.]: p. 282, l. 19 to p. 283 1. 6; [p. 90, f. n.]: p. 282, ll. 4 to 18; [pp. 91-94] p. 152, 1. 21 to p. 153, l. 12; [p. 91, f. n.]: p. 4, ll. 11-14; p. 281, ll. 22-25; p. 281, 1. 26 to p. 282, 1. 3; [pp. 97-98] :

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174 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME p. 71, l. 1-8; [pp. 104-7]: p. 151, l. 18 to p. 152, 1. 17; [pp. 108-9]; p. 55, II. 10-21; [p. 109]: p. 63, l. 18-25; [p. 110]: p. 47, 1. 6; [p. Ibid.] 59, 1. 5. He has added his Sanskrit chaya and minor comments here and there. It is he who published, beside the prasasti verses (already published by Muni CHATURAVIJAYA and Muni JINAVIJAYA) a number of extracts from the Jaisalmer Ms. of the Kuvalayamala. Some of these passages are really important, and as such they have attracted the attention of some scholars. The Paisacl dialect has been of great interest for scholars. (A. N. UPADHYE: Paisaci Language and Literature, Annals of the B. O. R. I., XXI, i-ii, pp. 1-37); and A. MASTER who wrote a paper The Mysterious Paisaci' (Journal of the R. A. S., 1943, pp. 217 1.) was obviously attracted by the Paisael passages in the Kuvalayamala a detailed acquaintance with which he came to have from Pt. GANDHI's Introduction noted above. In his paper An Unpublished Fragment of Paisaci' (Bulletin of the S. O. A. S., XII, 3-4, London 1948) he gives not only a critical text (based on the two available Mss. J and P) of the Paisaci passage (along with the photo-prints of the relevant leaves of J) corresponding to our text, p. 71, l. 7-26, but also presents tentative translation accompanied by grammatical and other notes. He contributed his studies on the Kuvalayamala in two more papers Gleanings from the Kuvalayamala Kaha, Nos. I and II' (Bulletin of the S. O. A. S., XIII, 2 and XIII, 4, London 1950). In the first he has presented his critical observations on these fragments (corresponding to the printed. text, p. 63, ll. 16-26; p. 47, l. 6; p. 59, l. 5) and specimens of Desibhasas. His linguistic notes are interesting. In the second he has critically studied (adding grammatical notes) the specimens of prose Apabhramsa and contemporary Middle Indian mixed with Sanskrit, especially the passages corresponding to the printed text, p. 55, l. 10-21; p. 151, l. 18 to p. 152, l. 17. This is prefaced with a few general remarks on the author etc. and concluded with an excursus on the Jaina Katha. Lately, F. B. J. KUIPER, Leiden, in his paper, The Paisaci Fragment of the Kuvalayamala' (Indo-Iranian Journal, I, 3, pp. 229-40, The Hague 1957), has edited and published at Mr. MASTER'S instance the Paisaci passage from the Kuvalayamala (corresponding to the to the printed text, p. 71. ll. 10-26). It is prefaced with a thorough grammatical analysis of the dialect and followed by English translation and notes, both explanatory and textual, which are very helpful to understand certain knotty points in the text. He has given a blockprint of the page from the Ms. P. containing that passage.

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Jainism In Jayantabhatta's Agamadambara ANANTALAL THAKUR THE Agamalambara is a four-act play written in Sanskrit and Prakrit in a number of dialects. Its author is the famous Nyaya thinker Jayantabhatta who flourished in the ninth century A.D. and composed his magnum opus, the Nyayamanjari, residing in a prison cell as he himself states in the following verse : rAjJA tu gahare'sminnazabdake bandhane vinihito'ham / grantharacanAkutukAdiha hi vAsarA gmitaaH|| The Nyayamanjari deals with different schools of philosophy, in their theoretical aspects-logical, ontological and epistemological, including also ethical. The Agamalambara is his next work which deals with the practical religious life of various sects in vogue during his time. King Sankaravarman (885-902 A.D.) of Kashmir was his patron. The king took cognizance of the degeneration of some of the religious sects and took steps to chastise them. Bhatta Jayanta was of much help to him in this. Sankaravarman's royal epithet as Varnasramadharmamaryadacarya is symptomatic of the fact that he re-established the Vedic tradition after purging the unorthodox-heretical elements that corrupted the life of the people of Kashmir. It will be interesting to note that according to the wise counsel of Bhatta Jayanta the king accepted the validity of all the Agamas including those of the Jainas. The royal proclamation in the Agamadambara attests this:

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176 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME ye'trAnAdijagatpravAhapatitA nAnAgamAH sAdhava ste tiSThantu yathAsthitAH svasamayAviSTAzcarantaH kriyaaH| ye tu prastutadharmaviplavakRtaH pApAstapo'pAyina FaII fa qayfa ai grifaa Eigfa: III. 1. In the Agamadambara the author depicts some of the salient features of the religious practices of the Buddhists, Jainas, saivas, Carvakas and Sattvata-Vaisnavas. Of course, his delineations are not always correct and sometimes also a bit distorted. But, on the whole, they are realistic and give a concrete picture of the religious life of Kashmir of his time. The overall attitude of the author appears to be reformative and he takes a world view when he asserts a common thread of truth running through the conflicting views in the following verse: ekaH zivaH pazupatiH kapilo'tha viSNuH __ saMkarSaNo jinamuniH sugato manurvA / saMjJAH paraM pRthagimAstanavo'pi kAma Har a qualche afta H: 11 IV. 57. Jayanta harps on the same view when he says nAnAvidhairAgamamArgabhedai rAdizyamAnA bhvo'bhyupaayaaH| ekatra te zreyasi saMpatanti forat garat Ta slad : 11 IV. 54. The above strengthens the belief that Sankaravarman's royal policy of accepting all the ancient Agamas as valid was highly influenced by this liberal attitude of the philosopher-politician of his court. Our main interest in this paper is to present Jayanta's view on the life of the Jaina monks, nuns and Sravakas of his time. In the pravesaka of the second act of the drama we find that a Mimamsaka named Sankarsana (who was later on appointed superintendent of religious affairs of the state) has deputed an urchin to report about the presence of the Jaina Acarya, Jinaraksita by name, who was in all probability a historical figure contemporary to our author. The boy goes to the Jaina monastery and finds a state of affairs which is not elevating. He actively associates himself with the affairs, makes fun with the Jaina ascetic, nervous due to his moral weakness, and is offered some bribe before he departs. Sankarsana now comes to Jinaraksita who was surrounded by his disciples under a pipal tree. The Acarya was explaining the necessity

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JAINISM IN JAYANTABHATTA'S AGAMADAMBARA : 177 of the study of the Jaina scripture and mortification of the flesh by the observance of austerities and vows (tapas and niyamas). Sankarsana began the conversation by paying high tributes to the Jaina ideal of asceticism : na hiMsA nAsatyaM na gRhavanavAsavyasanitA na saktiyApAre vacidapi bhvaanntrphle| tapazcedaM tIvra vrataniyamasaMbAdhamanaghaM gaan #1=41 affig gertato II II. 7. On his enquiry, the Acarya introduces the topic of anekanta as the most popular subject of discussion and quotes the verse : eko bhAvaH sarvabhAvasvabhAvaH sarve bhAvA ekbhaavsvbhaavaaH| eko bhAvastattvato yena dRSTaH Hima Tet: 11 II. 8. which has its root in the sutra go 319 Haarig of the Acaranga, the first book of the Jaina canon. This is criticized by Sankarsana in a superfluous manner. The Acarya does not want to prolong the disputation and goes away under the pretext of attending his monastic duties. The hermitage and its peaceful surroundings attract the Mimamsaka. Then enters an ascetic clad in red robe and uttering eulogy of the Agamas propounded by the Jainas, which are described as terse and excellent in sense as opposed to the Vedanta and the Vedas which are elaborate, confused and difficult to understand. veyaMtA duttaraMtA taikahiyakahA vittharA saMkulasthA ___ ayyehi tattha ciMtIyadi gahaNagadI atthi natthIti appA / dUre tikhaMtu te me pariharidumidaM ghorasaMsAradukkhaM faari forihei fargforfora FTTH 3718TTET II II. 15. On being questioned the ascetic says that he has come to attend a feast arranged in the hermitage of Jinaraksita by a liberal Jaina Sravaka. The ascetic enumerates the menu of the feast which included sattaNa rAsIo (heaps of barley powder), tellaghaDiyA (jars full of oils), kaMjiya kumbhIo (sour gruel in pitchers), gUDakULyA (heaps of molasses) and tellapakkANa Helt neapr (piles of food prepared in oil), all of these are acceptable to Jaina monks. Sankarsana enquires why there is absence of milk-products like curd and ghee? The reply comes that anything connected with a living organism is prohibited to a Jaina ascetic. He GJ.V. 12

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178 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME further points to his own sandals made of dry leaves. The ascetic makes hurry in order to attend the feast. Sankarsana follows a few steps to have a glimpse at the big assembly. The ascetic gives a confused reply to the query about their accepting the authority of the Buddha--ofrari 34 UNC PUTTE I ff a huge und Eife I. He then points to different sects of the Jaina monks assembled there in thousands. The sects are enumerated and their distinguishing characteristics are mentioned as follows: aho bhaddA aarhdaa| bhAviappA (?) ArahadA / ke vi diyaMvarA, ke vi rukkhavidalamettavasaNA, ke vi rattavAsA ke vi seyvddaa| pekkha dAva ido ime niddayaluMcaNapasaMgalakkhijaMtalomamUlavialaMtapaviralataNuasoNiakaNA diyNbraa| ido khu ime battulavasUracaccijantakomalavakalaMcalA ciirvsnnaa| ido khu ime takkhakhapakkakaMdUuddhariasarAvasarisavaNNavasaNA a vamhabhAriNo COLETT I...... Well-behaved indeed are the Jaina monks! They have cultured their mind indeed! Some of them are sky-clad, some are clad in dry leaves only, some again are clothed in red robes. Look at these sky-clad monks with bodies marked with drops of blood owing to cruel tearing off of hairs from the body. Look again at others clad in dry but soft leaves coloured with round vasura. Here are again ascetics who are clad in red robes resembling the blazing earthen disk just taken out of the kiln. This description of the practices and doctrines of the Jainas in Kashmir as found in a pre-Kalhana text is important from various points of view. There appears to be a confusion between the Jaina and the Buddhist practices. It is only the Buddhists who are allowed to partake of the food prepared for them. We do not find any reference from other sources to Jaina monks joining a feast. Jayanta himself refers to the Jaina monks as Bhiksabhujah-those that live on alms. The references to the anekanta doctrine, tapas and niyamas and also Digambara and svetambara sects are correct though the details are not always verifiable. Jainism does not seem to be a flourishing religion in Kashmir in the days of Jayantabhatta though thousands of Jaina ascetics are stated assembled in the Asrama. Rather the picture drawn in the Agamadambara points to the fact that it has degenerated and lost much of its moral strength in the then Kashmir. Jayanta pays respects to the Jaina ideals and individuals like Acarya Jinara ksita. But the other side of the picture represented by the incident of the Ksapanaka and the Ksapanika points to a serious weakness in the society. The Buddhist receives more attention of the author. But Jainism commands more respect.

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Genuineness of Uttaradhyayanasutra IX. 34-36 J. P. THAKER W HILE teaching Prakrit texts to his post-graduate students, the present writer is confronted with several problems of textual criticism. One of these is discussed in the following lines : The ninth chapter of the Uttaradhyayanasutra presents a nice dialogue between king Nami of Mithila and Indra, disguised as a Brahmana, who tries to dissuade the king from renouncing householdership for monk-hood, a parallel to which dialogue can be found in the well-known story of Janaka Videhin of the Mahabharata as also in the Buddhist Jataka No. 539 named Mahajanaka. Verse 32 of this chapter contains Indra's advice to the king not to leave for monkhood unless he subdues, as a true Ksatriya, all those kings who do not bow down to him : "je kei patthivA tujhaM nAnamanti nraahivaa| vase te ThAvaittANaM tao gacchasi khattiyA // " Verses 34-36 form Nami's reply to this test: "jo sahasse sahassANaM saMgAme dujae jinne| egaM jiNeja appANaM esa se paramo jo|| 34 // appANameva jujjhA hi kiM te jujJaNa bjjho| appANamevamapyANaM jaittA suhamehae // 35 // pi. 1 v.1. ha acqui & u 2 v.l. fafore

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180 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME paMciMdiyANi kohaM mANaM mAyaM taheva lohaM c| dujayaM ceva appANaM savvaM appe jie jiyaM // 36 // " Some scholars seem to have been confused in the intricacy of the sense of these verses and especially 36ab is believed to have confounded the matter all the more by its presenting a sudden change in metre and certain nouns ending in with no verb or participle for completing the sense. Jacobi remarks on verse 36 : " The first line of this verse is in the Arya metre, the second in Anustubh; the whole will not construe, but the meaning is clear. There are numerous instances in which the metre changes in the same stanza from Arya to Anustubh, and vice versa, so frequent they are that we are forced to admit the fact that the authors of these metrical texts did not shrink from taking such liberties." CHARPENTIER refers the reader to these remarks of JACOBI 'concerning the metre' and adds: "but the sense of the whole verse is not clear, and the construction is extremely confused." The commentators-even Santisuri (11th century) and Nemicandra (1073 A.D.)-interpret '87c9|oj '--B716HI-in verse 36 as 17:, the mind, They, too, appear to have been confused by the ending in of all the nouns occurring in the first three quarters and try to solve the difficulty by arguing that " H a lagafacer:", i. e., the employment of neuter in the case of all these nouns of masculine gender is due to the licence enjoyed by the ancient authors ! Prof. L. ALSDORF has contributed very nice articles on the Uttaradhyayanasutra, in one of which, entitled "Namipavvajja : Contributions to the study of a Jaina Canonical Legend ", published in the Indological Studies in Honour of w. Norman Brown (American Oriental Society, New Haven, 1962), he has made a praiseworthy effort to solve this intricacy. He starts with these remarks: "This (i.e. JACOBI'S remark) is certainly wrong. The Arya metre alone would suffice to prove that the line in question is an interpolation; but its contents, too, make this quite certain : the king's answer is solely concerned with the fight against the atman; krodha mana maya lobha are totally out of place here. The clumsy interpolation might alone account for the impossibility to construct the stanza, of which CHARPENTIER also complains; but there is probably more behind it."

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GENUINENESS OF UTTARADHYAYANASUTRA IX.34-36 : 181 Regarding 35cd he says: "Though constructible and intelligible, it is hardly genuine; why should it be stressed (eva!) that the monk must fight his atman with his atman? What, after all, does this really mean?" By changing the order of the quarters of the Anustubh lines of verses 35 and 36 the learned professor sets up the following coherent stanza which he believes to be the only original one in place of the two verses : appANameva jujjhAhi! savvaM appe jie jiyaM / dujayaM ceva appANaM jaisA suhmehe| Then, he says, if a scribe had this text before him, began copying it, and after 37-91779 inadvertently got into the next line, the result would be: ___appANameva appANaM jaittA suhamehae, which the next copyist would ingeniously correct to: appaNAmevamappANaM jaittA suhamehae. He further supposes that a copyist compared this contaminated text with a correct manuscript and remembering the verse imeNa ceva jujjhAhi kiM te jujjheNa bajjhao occurring in the Acarangasutra, he contaminated this with appANameva jujjhAhi savvaM appe jie jiyaM to appANameva jujjhAhi kiM te jujjheNa bajjhao, i.e., our 35ab. This left him, as the argument advances, with the two quarters savvaM appe jie jiyaM and dujayaM ceva appA] of the correct manuscript, which he, fairly stupidly, combined into an inconstructible line and placed at the end. The result was three lines, and to make up for the apparent deficiency of a fourth, a none too intelligent reader hit upon the insertion of the Arya line. In short, according to Prof. ALSDORF verse 34 is the original answer taken by the poet from the great stock of contemporary gnomic poetry, while the second one is an amplifying apt quotation, possibly also going back to the original author of the samvada but more likely a redactorial or even later addition. This is indeed a highly intelligent conjecture having a touch of probability. It must be confessed, however, that it is not thoroughly convincing. In the first place, the sudden shift to the Arya metre need

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182 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME not confuse us regarding the genuineness of the verses. JACOBI'S remark, which Prof. ALSDORF considers to be certainly wrong', does not appear to the present writer to be so condemnable. For we find in the ancient texts copious instances of flying over from one metre to another in one and the same verse. In fact, this was a usual practice of ancient authors with whom matter was always more important than the form. They never bothered for the metre which they waived or changed in order to express their ideas exactly as they struck them. Their utterances, however, usually came out in an easily flowing "metrical or semi-metrical form. Morever, if a later reader wants to insert a line to complete the verse, why should he coin an Arya line and not an Anustubh one, provided, of course, that he wishes to put a quotation there ? Because though Ary, developed at a later stage, Anustubh is the easiest metre and a later inserter would be more conscious of metrical homogeneity than the original author. Secondly, the expression 'the monk must fight his atman with his atman' is confusive. Atman is not at all to be regarded here as an entity separated from one's own self, or rather oneself. This fight against the Atman can in reality be fought only by oneself; in such an internal fight one cannot expect any help from external allies! One has to vanquish oneself by oneself. One remains all alone in this struggle against one's own self, or rather oneself! This is not at all a new thing for an Indian, whose civilization is nourished by this same teaching through all the traditions of this hoary land of various philosophical trends. Under the circumstances how can it be argued that "krodha mana maya lobha are totally out of place in an answer solely concerned with the fight against the atman ?" In fact victory over one's Atman means self-restraint which naturally includes subduing of or full control over the feelings of krodha etc. Further, the line 24ha capoi 55 TIL HES' (35cd) can yield, without hampering in the slightest degree its natural course, another sense : It can be rendered as 'AtmAnam eva AtmAnam jitvA sukham eghate''One can secure (highest) bliss by conquering oneself and oneself alone.' Almost all commentators have explained one 375970' as adtune factar!, but Mahopadhyaya Bhavavijayaganin's commentary [Atmananda Grantharatnamala No. 32; Atmananda Sabha, Bhavanagar, 1918, Vol. I, leaf 225] mentions only one 379TUT' : "pai 7 BTCOITAI RA CHA FET 'fe fstral......"

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GENUINENESS OF UTTARADHYAYANASUTRA IX.34-36 : 183 This may be regarded to imply that the commentator is not inclined to take one ' 2709101' as a case of Accusative used for Instrumental, as others have done. To him, therefore, the repetition of cari' is just for stressing upon the victory over oneself. This interpretation does not suffer from even the slightest tinge of improbability. On the contrary, it avoids the confusion created by the statement "by conquering the self by the self." In his attempt to find out the probable manner in which the text might have taken its present corrupt (?) form the learned professor. has resorted to the similarity between the verses of the Uttaradhyayanasutra and the Acarangasutra. The present writer, however, strongly feels that since such repetitions of both thought as well as expression are frequently met with in the ancient texts of Indian traditions, all such cases need not be deemed as mere scribal mischiefs. In his humble opinion the Arya line can easily be joined with the preceding and the succeeding Anustubh ones in a quite congenial way. Though the nouns ending in occurring therein are taken by the commentators to be in the Nominative case, the present writer thinks that there is no necessity of making an altogether separate sentence thereby. It is better to take them all to be in the Accusative case itself. The whole answer comprising three verses becomes thereby quite clear and coherent in sense all throughout. It may be translated as under: "If he who vanquishes a million (warriors) in a fight very difficult to win should conquer himself alone, this is his supreme victory. Struggle against your own self; of what avail would be your external fighting (i. e., fighting against the external foes referred to in Indra's speech in verse 32) ? A man can attain bliss by himself conquering himself [or, by winning over himself and himself alone (i.e., by subduing) the five senses, wrath, pride, delusion as well as avarice-his self which is indeed so difficult to conquer; if the self is conquered, everything is conquered." This way of interpretation is quite natural and suitable to the spirit of Indian traditions. What is meant here is this : Indra has asked Nami to conquer the kings before leaving for monk-hood. Nami replies that for one who has understood the real state of things fighting against the external foes will mean mere waste of energy and time. For there will result no peace out of these fights trimming with nothing else but violence. In order to attain real bliss one should struggle against

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184 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME the internal foes such as the senses, wrath, pride, delusion and avarice. Victory over one's own self-full control over oneself-is possible only by this process. Thus it is extremely difficult to conquer one's own self. This internal victory is the greatest victory that one can achieve, far greater than vanquishing a million warriors on the field of battle. In a nutshell, once the self is controlled, everything else comes under your sway, of its own accord. In this way, this reply of Nami is an excellent piece of teaching, the very essence of all teachings of the ancient traditions of India imbibed through ages. It should be noticed that this is spoken by king Nami, the counterpart of the celebrated Janaka, on the eve of retirement from worldly life. Naturally, therefore, in reply to Indra's test regarding victory over others, he stresses upon the ideal of a monk, viz., complete self-control, which is the most difficult to secure. In the first verse Nami points out that he has left off all worldly fights and has decided to be fully self-controlled. In the second one he stresses upon the futility of worldly victories and pronounces his decision to turn to the internal world for further victory, which is the only way to real peace and bliss. In the last verse he elucidates what actually he has to do for complete success in this greatest enterprise and proclaims again, in other words, what he did at the outset of his reply. Thus these three verses appear to the present writer to form a homogeneous unit, quite constructible and intelligible, imbibing one and the same ideal. De 1 OSAD S LIBRARY totis

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Sanskrit Naka-s: Gothic Nehw-s VITTORE PISANI IN his important review of Heinrich Luder's Varuna (Zeitschrift der Deutschen Morgenlandischen Gesellschaft' 101, 1951, p. 407 ff.) Paul Thieme defines the names of the parts of the sky in Rgveda (p. 412) recana-m means, according to him, the unvisible part, naka-s the part that is visible as the firmament; only later on this word ends by indicating the sky in general. In a foot-note (4) Thieme suggests that na'ka- may be formed, like upaka- and apaka-, from a no which exists no more in Sanskrit but is preserved in Slav na 'on' (from *no, as shown by its Lithuanian correspondence nuo). His further comparison with Greek noton' back' is surely wrong; but the idea that na'ka- may be formed like upaka- apaka- (cp. further urane-, arane- etc.; s. also my paper Latino provincia, etc., Rendiconti dell' Istituto Lombardo di Scienze e Lettere' LXXIV, 1940, p. 148 ff.) is doubtless an illuminating Manfred Mayrhofer, A Concise Etymological Sanskrit Dictionary II, 1963, p. 149 mentions further etymologies that deserve no attention. Now, if Thieme's etymology is right, then we must consider. na'ka as originally an adjective: na'ka-, like upaka-approximate', apaka-distant', may have indicated, to judge from Slav na and according to the significance of na'ka- 'firmament' as opposed to rocana-, what is situated on something or near to something. And one cannot avoid to compare it with Gothic nehw-s (German nahe, old English neah, Engl. nigh), of which Sigmund, Felst, Vergleichendes Worterbuch der Gotischen Sprache, 3d ed. 1939, p. 373 rightly says that all extant

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186 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME comparisons are not reliable. Formally Skt. na'ka- and Goth. nehwacorrespond exactly to each other, as descendants from an Indo-European * nekwo-. It is possible that a formation of no or better of I.-E. *ne, ne in apophony with it, is contained also in Sanskrit nediyan nedisthas, Avestan nazdyo adv. nazdista- (on which s. Mayrhofer, op. cit. p. 179), further in Oscan-Umbrian nessimo-, Old Irish nessam (cp. my Lingue dell' Italia antica, 2d ed. 1964, p. 138), etc. We might now ask : has this Indo-European adjective *nekwoacquired his meaning 'firmament, sky' at first in Rgveda? Or is it possible that this meaning did arise already in some Indo-European dialects? It is impossible to answer unhesitatingly this question; anyhow I would like to remember that Tokharian has a word, A nkat, Bnakte which means 'god' and could be a derivation by suffix -to-from *nekwo- : the palatalisation to be seen in n indicates that after the original n there was originally a front vowel, e or e. In this case, nkat/ nakte would have meant originally celestial, inhabitant of the firmament', as a cast of *deiwo- (Sanskrit deva-s, Latin divus deus, Lithuanian dievas, etc.), which is a derivation of dyew- (Sanskrit dyaus Greek Zeus, Latin dies etc.) 'sky, heaven'. CIENCIC POLITICAL Ubook

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The Non-inflected Genitive In Apabhramsa S. N. GHOSAL HEMACANDRA in his Prakrit grammar (IV. 395) has prescribed the occasional loss of inflection in the genitive and expressed his approval for the use of such un-inflected forms in the Apabhramsa dialect. He does it not of his own accord but in pursuance of a rule. of the Valmiki-sutras, which are assumed to be the original sources, to which the Prakrit grammars of the Western school owe their existence. This practice of employing the uninflected forms for the genitive was being followed thus by way of tradition for a long time and people engaged in literary pursuits, who had utilised this Ap. speech as a literary medium, did not hesitate to make use of such uninflected forms, as these were considerd quite natural to the speech by the people. In course of providing illustrations of his sutras Hemacandra has shown the use of the non-inflected genitive by citing one verse. and there are some more verses in his Prakrit grammar, which bear clear evidence for such use in Ap. during his times. Now Jacobi in his Bhavisattakaha (Grammatik SS23) has expressed grave doubts regarding the occurrence and use of the non-inflected genitives in Ap., which Hemacandra authoritatively sanctions by the above-mentioned sutra. He suggests that the forms, which are recognised as instances of the non-inflected genitive, may be easily explained quite differently-rather as the preceding members of some

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188 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME compounds, i.e., all such forms appear as first members, with which some other words are annexed as second members of the compounds.1 As such forms are assumed as the constituents of compounds--particularly the first ones, they have obviously the right to shake off terminations and bear the semblances of so many uninflected forms. Alsdorf, who attaches too much importance to this statement of Jacobi, rejects the sutra of Hemacandra as misleading and confusing. In his Apabhramsa Studien he makes an attempt to explain such non-inflected genitive forms quite differently-rather as first members of compounds, as Jacobi has done, sometimes as vocatives and sometimes, again, as adverbs. As he boldly advances his proposition being fully conscious of its full import we quote him verbatim, which may help us to make a correct appraisal of his stand. He states: "The same is the condition with other Jaina texts, which do not give any support to the sutra of Hem. and the Valmiki-sutras. The condition of the stanzas of Materialen zur Kenntniss des Apabhramsa is also not otherwise. Whenever Pischel has been confused by this rule of Hemacandra and been persuaded to accept the non-inflected genitive as genuine the later investigation has shown that it should be construed as a fore-member of a compound or a vocative (in one case also as an adverb)."2 Jacobi, however, claims to have found two real instances of uninflected genitive in the Bhavisattakaha (166, 4), about which he does not maintain any doubt. Forming the latter half of two lines they stand as : amarinda vi- janavindavi. Alsdorf, who comes forward to 1 We quote the actual words of Jacobi, which run as : "Nach Hem. IV 345 soll die Genetivendung gewohnlich (prayah) abfallen. Aber in unserem Texte konnen solche unflektierte Genetive durchweg als vordere Kompositums-glieder aufgefasst werden." (Bhavisattakaha, Grammatik $ 23). (Trans.: According to Hem. IV. 345 the termination of the genitive usually drops. But in our text such uninflected genitive can be throughout considered as the foremember of the compound). "Das gleiche gilt von den ubrigen Jaina-texten, die der Regel Hem.s und der Valmiki-sutras durchaus Keine Stutze bieten. Nicht anders aber steht auch mit den Strophen der Mat. Wo immer sich Pischel durch Hem.s Regel verleiten liess unflektierte Genetive anzunehmen, ergiebt die Nachprufung dass es sich um Vorderglieder von Kompositis oder um Vokative (in einem Falle auch um Adverbien) handelt."-Apabhramsa Studien, pp. 56-57,

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THE NON-INFLECTED GENITIVE IN APABHRAMSA : 189 justify Jacobi, suggests that the two words assumed to be the forms of non-inflected genitive, are not in fact such, as in Gune's edition the second one occurs with certain modification as : janavindi vi. Alsdorf, who unhesitatingly accepts the reading of Gune, emends the first expression as amarindi vi (Apabhramsa Studien, p. 56). He made this emendation and seemed apparently justified in doing this, as he intended to maintain conformity with the rhyme of the word janavindi, which comes immediately after it. As Alsdorf accepts this reading of Gune and modifies the text accordingly he assumes both the words amarindi and janavindi as being infected and bearing the termination of the loc. sing. Here it should be noticed that Alsdorf does not speak anything about two more uninflected forms, which Jacobi mentions and which stand as loyana (for loyanahi 49, 6) and taruni (for tarunihi 399, 10) (Bhavisattakaha, Grammatik 8 23). From the above-referred extract of Alsdorf it follows that Pischel subscribed to the view of Hemacandra and admitted the loss of inflection in the case of genitive to be a fact (Grammatik der Prakrit Sprachen 8 369). That this phenomenon is not a sporadic manifestation, but an outcome of a long-continued tendency in Ap., proceeds from the fact that two other cases too-namely the nom. and acc. both in the sing. and plur. throw off the terminations (He. IV. 344). Alsdorf, who has totally denied the occurrence of the uninflected gen. in Ap., has also come forward to explain such uninflected nom. and acc. forms in his own way. According to him such forms are, in fact, inflected like the regular ones, but they are characterised by certain tendencies, which go as the distinctive features of various NIA speeches (Apabhramsa Studien, pp. 5 ff). That Alsdorf does not give a correct view of facts will be clear from what follows. It should be mentioned here that the phenomenon of the disintegration of terminations, which showed its first beginnings in Ap., became more prevalent in the subsequent period. In the late Ap., which was otherwise known as Avahattha in the east and Pingala in the west, all the cases showed the tendency to discard their infiections, as a result of which there developed with the people a practice to employ the non-inflected words, i.e., base-forms, in a sentence or a verse. This task imposed a heavy premium upon the imagination of a man, who had to ascertain the meaning of a line by considering the position of words in the sentence. As these analytical tendencies characterised the speech of the later Pkt., particularly Ap. and late-Ap., it is not proper to disown the feature and consider it unreal as a figment of imagination.

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190 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME We quote certain forms from the Praksta-paingala and make an attempt to show the use of non-inflected forms in all cases. The forms are selected at random. Nom. phala, bhuangama (I. 6), abuha (I. 11), nisanka (I. 72), surasari (I. 111), gamga (1. 119), karta (I. 135), vira Hammira (I. 147) etc. Acc. nava (I. 9), samtara, kugati (I. 9), sampaa, suha (I. 98), duritta (I. 104), pakkhara, bandha (I. 106), khagga, karabala (I. 106), abhaavara (I. 111), citta (I. 135) etc. Inst. manimamta (I. 6), sahaja (I. 7), koha (I. 92), pakkhara pakkhara (I. 106), attha (I. 116), navakesu (I. 135), paabhara, (I. 147) etc. Abl. mitta, bhicca (1. 37), uasina, sattu (I. 38) etc. Gen. baha, kohanala, sulatana (I. 106), kanna (I. 126), mecha (I. 147), sarasai (I. 153), raanipahu (I. 163) etc. Loc. rana (I. 87), adhamga, giva (I. 98), rana, dia (I. 106), naana, gala, sira (I. 111), sisa (I. 119), jujjha (I. 126), dura digantara, sabbadesa (I. 135), gaana.(I. 166) etc. While accounting for the loss of inflections of cases in Ap. we should take certain facts into consideration. Jacobi suggests that in Pali and Pkt. the final sound of a word became gradually weak and it very often submitted to the overwhelming influence of the initial vowel of the following word. This tendency of weakening of the final sound became so forceful that in Ap. there was total elision of the final vowel occasionally-sometime before an initial vowel with indefinite quantity and sometime even without it (e. g., Ap. narem < Pkt. narena). But this feature, of which the first beginning was noted in Ap., became a characteristic of the New Indo-Aryan speeches in general in the subsequent period (Sanatkumaracarita, Grammatik SS 8). Now, as the elision of a vowel demands that there should be the shortening of a long vowel prior to its final disappearance Ap. shows this feature too in a number of declensional forms. We may cite a few instances for the clarification of the matter: Stem deva, nom. sing. Ap. devu < Pkt. devo. Stem deva, loc. sing. Ap. devi < Pkt. deve. Stem giri, nom. sing. Ap. giri < Pkt. giri. Stem sahu, nom. sing. Ap. sahu, < Pkt. sahu. Stem muddha, nom. sing. Ap. muddha < Pkt. muddha. This clearly demonstrates that in Ap. the final syllable sustained considerable weakening, as a result of which the final vowel occasionally under suitable circumstances totally disappeared.

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THE NON-INFLECTED GENITIVE IN APABHRAMSA : 191 Now Jacobi has given some explanation for the loss of the final vowel in a word in Ap. According to him the mode of accentuationthe heavy stress on the penultimate syllable-was responsible for the weakening or the loss of the final vowel in a word.3 The strong accent on the initial vowel in the following word might also have helped greatly in the matter. But here another fact should also be taken into consideration. The penultimate stress was not the only mode of accentuation in Pkt. or Ap. The system of the initial stress was also found working in the development of the speech Pkt. in all its stages. This has been clearly stated by Jacobi, according to whom the Aufton (i. e. the rising accent)' sometimes becomes more vigorous and suppresses this penultimate stress. We consider the preponderance of 3 This seems to follow from the following statements of Jacobi, which he has expressed in the Sanatkumaracaritam (Grammatik SS 8) : Bei langer Panultima wurde dann auslautende kurze vokal in Pali und Prakrit als Nachlaut betonter Silbestehend soweit geschwacht, dass er auch vor leichtem Anlaut abfallen konnte. (Trans. : In Pali and Prakrit the short final vowel with a long penultimate behaved as to have stood after the accented syllable, and became so much weak that it could drop even before the light initial sound.) Also "Die Schwachung und Verdumpfung jedes auslautenden a nahmen ihren Fortgang so dass es im Apabhramsa ausfallen konnte, ohne einer besonderen durch die starkere Betonung der vorhergehenden Silbe (Panultima) zu bedurfen, namentlich wieder bei anlautenden u." (Trans.: The process of weakening and discolouring of the final sound a continued so that it could totally elide in Ap. without requiring a special weakening through stronger accentuation of the preceding syllable (penultimate), specially before the initial u.) Jacobi has expressed this view in the following words : "Je nach einer grossen Anzahl von Doppel-formen zu schliessen muss der Aufton den Wort-ton, wenn er auf der zweiten Silben lag, uberwunden haben, was also auf eine Neigung hinauslauft, in solchen Fallen den Accent auf die erste Silbe zuruckzuziehen. Die zuruckziehung der Accents von der zweiten auf die erste Silbe giebt sich Kund in der Kurzung der zweiten. (1) Die erste Silbe ist lang. anita wird in Pali und Prakrit meist anita bez, aniya, durnita im Prakrit zu dunniya. . . . . . (2) Die erste Silbe ist Kurz. Im Prakrit wird meist oder oft alika zu aliya, karisha zu karisha "..Jacobi-Uber die Betonung im klassischen Sanskrit und in den Prakrit-sprachen, ZDMG

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192 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME the initial stress-the Aufton of Jacobi-to be more responsible for the loss of the final vowel of a word; because, as it is easy to understand, excessive stress on the initial syllable would very easily condition the laxity of pronunciation in the final syllable of a word, which would ultimately lead to its weakening or disappearance. Be it the initial stress or the penultimate stress--that the heavy stress accent on any syllable other than the final was responsible for the elision of the final vowel in a vocable seems to be clear from all the fore-going statements. Now it is to be considered that in an inflected word as the terminational element appeared at the end being affixed to the stem it is the endings which suffered most from phonetic decay or elision. The stem element was successful in resisting considerably the onslaught of phonetic reduction due to its privileged position--namely of its constituting the fore-part of a word. This has been very categorically asserted by Turner in his paper "The phonetic weaknesses in the terminational Elements in Indo-Aryan" (JRAS 1927, pp. 227 ff.). Now in this process of final weakening it is easy to comprehend that some weak endings would give way and suffer from total elision. But this fate was not in store for all the terminations. Because there were surely some, which were stronger and could stem the rushing tide of disintegration, which seemed to sweep away the old phonetic system coming down traditionally from a long time. It would be clarified by a reference to the history of the Aryan speech during the later period particularly at the time of the New Indo-Aryans. The history of the Aryan speech shows that during the days of the New Indo-Aryan only two case forms remained. The one was the direct, which was the descendant of the old nom. and the other the oblique, which was the surviving form of any of the cases like gen., dat., loc. or inst. On account of its being the only surviving form Vol. 47, p. 581. [Trans. : From the double forms it is possible to infer that the rising accent (Aufton) has suppressed the wordaccent (i. e.) penultimate stress), when the latter has remained on the second syllable and betrayed a tendency to shift altogether in such cases the word-accent upon the initial syllable. The shifting of the accent from the second to the first makes itself known by the shortening of the second syllable. (1) The first syllable is long : anita becomes in Pali and Pkt. anita and aniya respectively, durnita becomes changed to dunniya in Pkt.......... (2) The first syllable is short : In Pkt. mostly or often alika becomes changed to aliya, karisha to karisha....]

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THE NON-INFLECTED GENITIVE IN APABHRAMsA : 193 for the six cases the latter was irrespectively used for all of them. But soon it was found that as it was used for so many cases it was not capable of indicating the various meanings of the different cases. So there developed a new device to indicate case-relations in the New Indo-Aryans. Independent words carrying definite case-indicating meanings were added to the oblique forms and these were used regularly as substitutes for the inflected words of the previous period. Now it may be asserted that this was not a strange phenomenon appearing as a freak, on the contrary it was a development common to the speech-habit of all the New Indo-Aryans. Sometimes, again, these post-positions integrated in such a manner with the oblique-forms that the latter along with the post-positions assumed the semblance of original homogeneous words betraying phonetic decay due to their coming through the ages. Now all these facts-namely the loss of different inflections, the emergence of two case-forms-the direct and the oblique and the universal practice of employing the post-positions could lead but to the only conclusion that Ap. too, which is slightly archaic than these speeches and remains intimately connected with them by way of forming a stage in the evolution of the Aryan speech, must have manifested, at least shown, the beginning of similar features--particularly the tendency of disintegrating the inflectional elements of vocables. In fact this shaking off of terminations indicated a great landmark in the development of the Aryan speech, since it deprived it of its synthetic character and gave it the stamp of an analytical one, which was something new in the entire history of the old Indo-Aryan. This affinity of Ap. with the modern Aryan speeches enables us to assume that the Aryan speech showed the beginnings of analytical features from the days of Ap., in which we notice first the tendency of disintegrating the inflectional elements. In this perspective it is possible for us to assert that the loss of inflection in gen, or nom. and acc., which Hemacandra prescribes, is quite natural to the speech and is not an outcome of confusions, to which Hemacandra is alleged to have fallen a victim. To make any attempt to deny it is to disown facts and make a distortion of the same. So we think that the statement, which Alsdorf has made, does not provide a correct assessment of facts. We have referred above to the occurrence of two instances of uninflected genitive in the Bhavisatta kaha-a fact, which Jacobi accepted as true but was contradicted by Alsdorf. The latter doubted the GJ.V. 13

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194 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME genuineness of the forms, as he put much reliance upon the text of Gune, that represented one as an uninflected word and the other as an inflected. Here it is necessary to consider whether Alsdorf is justified in accepting the text of Gune as correct and attributing to the uninfected word the appearance of an inflected form by emendation. A little reflection shows that the text of Gune is not much reliable, because the words, which ought to have preserved rhyme owing to their being the latter portions of two hemistiches of a verse, have neglected it altogether-a fact that can scarcely be overlooked. Further the agreement between Gune and Jacobi regarding the acceptance of one of the two forms as non-inflected strongly speaks for the assumption of the same as such. So Alsdorf's emendation appears to be uncalled-for and, according to our estimate, the same does not serve Alsdorf's purpose of refuting the occurrence of non-inflected gen. in Ap., for which he has made so strenuous efforts. Here the following fact too should be taken into consideration. As we come to learn from Jacobi, Ksemaraja's commentary upon the Upadesasaptatika contains 353 Ap. stanzas, which possess many uninflected forms. Among the latter though such forms, which represent the nom. and acc. cases, show a palpable preponderance, the stems conveying the sense of the genitive are not negligible. Again, as we learn from the same source, like the Bhavisattakaha the Neminahacariu too shows the sporadic use of the non-inflected gen, in Ap. (Introduction to Sanat., p. XXIII). We like to point out further that in his introduction to the Sandesa-rasaka H. C. Bhayani took up the problem and discussed it in some detail. He believes that during the later days of Pkt. the inherent tendencies of the speech were such that the old inflexions, obtained traditionally, were fast disappearing and making the language shorn of terminational elements. The disintegration of the old morphological system paved the way for the use of the stem-forms in all numbers and cases-a phenomenon which is remarkably found in the old Marwari speech, commonly known as Dingal. Such a situation surely helps one to surmise that the tendency, of which we find wide application in some NIA speech, begins to sprout in Ap., where the nom. acc. and gen. alone according to the grammarians shake off terminations. So Bhayani could not lend his support to the view of Alsdorf, however convincing might his arguments be (Sandesa-rasaka, Intr. SS 51, p. 26) Now let us examine the verses, which are assumed to have

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THE NON-INFLECTED GENITIVE IN APABHRAMSA : 195 possessed the non-inflected forms, but which Alsdorf interprets differently in his endeavour to refute the occurrence of uninflected gen. in Ap. We quote first the verse, which Hemacandra presents as his illustration to the sutra IV. 345. Pischel presents the verse as : samgarasaahim ju vanniai delkhu amhara kartu! aimattaham cattamkusaham gaya kumbhaim darantu ||| Pischel translates the verse as : "Look he, who is praised in hundreds of fights, is my husband, who splits the temples of wild elephants that defy the iron rod (of the rider)."5 Alsdorf suggests that the word gaja can never be considered as an instance of uninflected gen., since it stands as the first member of a compound, in which kumbhair stands also as a constituent. Now the question is whether Alsdorf is justifiable. Here it should be mentioned that there are certain difficulties, for which it is very hard for us to accept the proposition of Alsdorf. In the second line of the verse it is to be found that there occur too adjectives namely aimattaha and cattankusaha, which qualify the word gaya elephant' and describe certain conditions of the same. Now if we be ready to accept the suggestion of Alsdorf we shall have to construe them as standing in apposition to and as such describing some situation of the entire compounded form gaya-kumbhain the temples of elephants'-a supposition, which would be meaningless both from the standpoints of grammar and significance. In the Tatpurusa compound, one must not forget, the emphasis lies on the second member of the compound, i. e., kumbhaim in the present case. Now if what is spoken about the elephant be spoken about its temples, as has been done here, one must be put to a great confusion regarding the real significance of the proposition. This can never be the situation and we can boldly say that the adjectives must have stood for gaya and not for kumbhain. So Alsdorf's statement "the construction is free, not usual but not impossible "6 does not conform to reason. A similar case is to be noted here in the verse IV. 384, which reads according to Pischel: 5 "Siehe, der in Hunderten von Kampfen geschildert wird, das ist unser Geliebter, der die Stirnerhohungen uberaus wilder Elefanten spaltet, die dem Haken (des Reiters) nicht gehorchen." 6 "Die konstruktion ist frei und nicht gerade gewohnlich, aber sicher nicht unmoglich."

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196 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME bali abbhatthani mahumahanu lahulhud so i | jai icchahu vaddhattanahum dehu ma maggahu koi || Pischel translates the verse as : "As he begged to Bali Visnu became small (he assumed the shape of a dwarf he lowered himself). If you hanker for greatness (high position respect etc.) give but do not pray for anything." = Here Pischel and some others would consider the word bali as a form of the non-inflected genitive, but Alsdorf would take it as a component of the compound, which has been formed by this word. along with the following one, i. e. abbhatthani. Alsdorf points out that Pischel did not make such a construction of his own accord, but he was urged to do it on the authority of the commentary of Udayasaubhagyaganin, who gives the translation of the first two words of the first line as baler abhyarthane and supplied the inspiration for accepting the expression bali as a non-inflected form, which ought not to have been done according to his own estimate. But Alsdorf takes it as the first member of a compound on the authority of Trivikrama, who translates the same as balyabhyarthane. We admit that the arrangement of the word bali is such in the verse that both the interpretations are justifiable. So we cannot accept one and reject the other. A similar case is found also in the verse IV. 401, 3. bimbahari tanu raana-vanu kiha thiu siri Ananda? niruvama-rasu pie piavi janu sesaho dinni mudda ? Pischel translates: "Oh Ananda! Why does there occur on the bimba-like lip of the slim lady a mark of the teeth? After he has derived (properly drunk) matchless pleasure the lover has given as if a seal to the rest "8. Alsdorf points out that Pischel is inclined to accept the word tanu as signifying "of the slim lady" and to assume it as a form of the non-inflected gen. on the suggestion of Udayasaubhagyaganin who presents the commentary of the relevant portions as: tanvyah bimbadhare. But he suggests that the word tanu should be "Als er Bali bat, wurde auch Visnu klein (= er nahm Zwerggestalt an, under niedrigte sich). Wenn ihr grosse (= hohe stellung, Ansehen usw. wollt, gebet, (aber) bittet um nichts." "O Ananda, weshalb befindet sich auf der Bimbalippe der schlanken eine zahnwunde (die die Wonne des Glucks verrat)? Geliebte wurde, nachdem er den unvergleichlichen genuss gehabt (eigentlich getrunken) hatte, auf den Rest gleichsam ein Siegel gedruckt."

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THE NON-INFLECTED GENITIVE IN APABHRAMSA : 197 considered as an adjective forming a compound with the following expression raana-vanu and it conveys the meaning 'small', which Pischel too assumed in his edition of Hemacandra's Pkt. grammar. Further he surmises that the stanza stands in the form of a question and an answer, i.e., the first part is an enquiry and the second a reply to it. Here one should note that in Alsdorf's interpretation one misses a specific reference to the lady on whose lip the seal of the teeth is imprinted and as such its acceptance deprives the poem of much of its nicety. But as Pischel's translation is based on the commentary, which is believed to have preserved the traditional meaning and commanded authority, it should be preferred. So the word tanu should be considered as a form of the gen., which is conspicuous by the absence of infection. The verse IV. 332. 2 is also assumed to have possessed a form of the non-inflected gen. It stands as : angahim amgu na miliu hali aharem aharu na pattu pia joantie muha-kamalu emrai surau samattu Il Pischel translates the verse as : "Oh friend ! my limbs have not been united with those of him, my lips have not been in contact with those of him. As I only see the lotus-like face of my darling the pleasure is complete."9 He advances such an interpretation on the authority of a statement of the commentator, which runs "priyasya mukhakamalam" etc. It is to be marked here that both Pischel and the commentators take the word pia as a non-inflected form for the gen. meaning of the darling'. But quite contrarily Alsdorf interprets it as a form of the voc. With a view to keeping harmony with such an assumption he presumes that the verse is a dialogue in which the first line constitutes the statement of the lover, while the second the reply of the beloved. Accordingly Alsdorf translates the first line of the stanza as: "Oh friend! my limbs have not been united with those of you, my lips have not been in touch with yours. "10 The second line, which constitutes the reply, is reproduced as "Oh darling! as I see 9" (Meine) Glieder, O Freundin, haben sich mit (seinen) Gliedern nicht vereinigt, meine Lippe hat (seine) Lippe nicht beruhrt. Wenn ich nur den Lotus des Antlitzes des Geliebten sehe, ist dadurch schon wollust vollstandig." 10 " (Meine) Glieder, O Freundin, haben sich mit deinen) Gliedern nicht vereinigt, (meine) Lippe hat deine Lippe nicht beruhrt."

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198 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME your lotuslike face the pleasure becomes complete. "11 To us this interpretation of the stanza appears phantastic and far removed from the truth. There is not the slightest indication in the verse, which may ensure one such a conclusion. The fact is that here a lady is disclosing her love-adventure of the night to her friend and also his failure in the feat. That such is indeed the situation follows from the use of the term hali in the stanza, which, as it is commonly known, is employed exclusively by a lady for addressing her female friend. So it conforms with the situation we delineate above and holds brief for the interpretation which Pischel and others suggest. Hence Alsdorf's attempts to interpret the word pia as a case of address and to twist the meaning of the verse on the basis of his assumption, seem to meet with total failure, which led ultimately to the demolition of his conclusion. Pischel intends to see another instance of non-inflected gen. in the verse IV. 356, which reads: jai taho tuttau nehada mai sahum navi tilatara tam kihe vankahim loanahim joijjau sayavara || Here Pischel takes the word tilatara as a form of the non-inflected gen., which qualifies the pronominal stem taho standing at a distance from it. He translates the verse accordingly: "If with regard to me the love of him, whose eyeball gleams as a sesame corn, has not disappeared then why am I looked with side-glances for hundred times ?"12 Alsdorf does not accept this construction and interpretation of Pischel. According to him the word tilatara has got nothing to do with the pronominal form taho, contrarily it is an expression used as a case of address referring to a form of the second person sing., which is to be inferred from the context. So he translates the verse as : "oh you, whose eye-ball gleams as a sesame corn, if his love for me has not disappeared......"13 Here it needs definite mention that Alsdorf has got the support of the commentator Udayasaubhagyaganin, who gives the following exposition of the 11 "Liebster, wenn ich nur den Lotus deines Antlitzes sehe, ist dadurch schon die wollust vollstandig." 12 Wenn die Liebe von ihm, dessen Augensterne wie Sesamkorner (glanzen), zu mir nicht geschwunden ist, weshalb werde ich dann hundertmal mit schiefen Augen angesehen. 13 "O du, dessen Augensterne wie Sesamkorner (glanzen), wenn seine Liebe zu mir nicht geschwunden ist...."

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THE NON-INFLECTED GENITIVE IN APABHRAMSA : 199 verse: he tilatara tilavat snigdha kaninika yasya sah | tasya sarvodhanam yadi tava sneho maya saha napi trutitah tat katham aham tvaya vakrabhyam locanabhyam satavaram vilokye ityarthah. It is interesting to note that P. L. Vaidya takes the expression tilatara as an adjective, which qualifies the word nehad, and unequivocally conveys the meaning intense, violent, poignant etc.'. Accordingly he translates the verse as: "If her intense (tilatara, literally in which the pupil of the eye is full of love like sesamum) love for me is lost, and then nothing is left of it...." Here it is very difficult to say as to which of the interpretations is correct, because the analytical nature of the speech, in which the verse is composed, gives it the utmost flexibility that admits of multifarious turns and twists of words. Naturally interpretations vary. Pischel does not seem to have found wide support from the scholars, since according to his interpretation the two words--the noun and the adjective-are intervened by a large number of expressions. In the following verse quoted in the Materialen zur Kenntniss des Apabhramsa from Canda's Praksta-laksana we note a word-namely joia, which Pischel intends to accept as a form of the gen. and Alsdorf as one more instance of the non-inflected gen., which he is inclined to refute. The verse, in the text of which Pischel does not find any thing irregular, appears in his Materialen zur Kenntniss des Apabhramsa as: kalu lahevinu joia jiva jiva mohu galei | tiva tiva dansanu lahai jo niamem appu munei || With the assumption that the word joia is a form of the gen. Pischel translates the verse as: "As in the course of time his delusion disappears the Yogin obtains enlightenment,--the Yogin, who recognises the Atman by austerities."14 We like to point out here that Alsdorf rightly traces the verse, which occurs in the Paramatma-prakasa (Nr. 86), where the correct text is expected to occur. He quotes the verse as : kalu lahevinu joia jimu jimu mohu galei | timu timu darsanu lahai jiu, ' niamer appu munei ||| Now Alsdorf makes an assumption here. Basing upon Pischel's acceptance of the form joia as gen. he thinks that the form is originally a non-inflected stem, but though in the gen. it gets the lengthening of 14 "In dem Masse, wie mit der zeit seine Verblendung schwindet, erreicht der yogin die Erleuchtung, der durch Busse den Atman erkennt."

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200 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME the final vowel in the same manner by which the non-inflected forms in the nom. or the acc. get final vowels lengthened in Ap. So the final long vowel of the form (i. e. of joia), according to his estimate, does not in any way affect its assumption as a non-inflected word. But as he is intent on striking at the root of the conception of the traditional use of the non-inflected gen. in Ap. he considers the word as a form of the vocative case. According to his assumption the word was originally joiau (*yogikaka), which by the loss of the final vowel u and the concomitant lengthening of the preceding vowel a by way of compensation developed into the present joia. Such an assumption of Alsdorf-- namely of construing joia as a form of the vocative, one may likely suggest, is obviously based upon the following sanskritisation of the verse, which L. B. Gandhi presents: kalam labdhva yogin! yatha yatha moho galati tatha tatha darsanam labhate jivo niyamenatmanam janati). It needs no mention that Alsdorf accepts his interpretation, which invariably follows from the above construction. It should be stated here that Alsdorf has cited several instances, where the word joia has been subject to the similar use and been considered as a case of address. We must admit that Alsdorf's assumption is quite conforming to reason and there is nothing objectionable in it. But this does not in any way entitle us to consider Pischel's supposition of the word as gen. to be wrong and leading to confusion. Because the word joia many be quite rightly assumed as a regular form of the gen. which proceeds from the word yogikasya and shows the following course of development in Ap.: yogikasya > joiassa > jaiasa > joiaha > joiaa > joia. It may be stated that the Praksta-paingala shows the copious use of such gen. ending in the vowel a and unquestionably supports the statement, which Pischel makes in unequivocal terms. We may quote a few instances from the PrakTta-paingala, which would clarify the matter and substantiate our statement: ja addhamge pabbai I. 82 (yasya ardhange Parvati), jaa ja addharaga I. 119 (jaya yasya ardhange), veala ja sanga I. 119 (vetalah yasya sange), ja ditthe mokkha pavijja I.119 (yasya drste moksah prapyate) etc. The gen. forms here very strongly suggest that the word joia too ending in the vowel a may be easily accepted as a form in the gen. The interpretation of the verse too will not suffer from any injury by such a supposition, since it will be construed with the word mohu, which comes after it though intervened by a few words. Such a situation goes to support the proposition of Pischel, whom we cannot reject unless we meet with any argument going to the contrary.

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THE NON-INFLECTED GENITIVE IN APABHRAMSA : 201 One cannot understand why Alsdorf was so eager to assume joia as an endingless form and how it could help him to refute the occurrence of the non-inflected gen. in Ap. Pischel has nowhere stated that joia provides an instance of the uninflected gen., against which Alsdorf raised his voice of protest. 15 To assume a form to be used in the gen. does not necessarily imply that it has sustained the loss of inflection, from which the word joia did not actually suffer, as the above shows. So Alsdorf has tried to attribute something to Pischel, for which the latter cannot be held responsible. If this be the position, Alsdorf's attempt to refute Pischel does not in any way help the former in establishing his proposition-namely, to demonstrate the use of the non-infected gen. in Ap. as wrong. Alsdorf cites the verse IV. 383. 3 and shows that Hemacandra has left here sufficient room for the assumption of the non-infected gen. in Ap. According to P. L. Vaidya the verse stands as: ayahim jammahi annahi vi gori su dijjahi kantu gaya mattaha cattankusaha jo abbhidai hasantu li The chay, in the second line occurs as : gajanam mattanam tyaktankusanam etc....... Pischel translates: "Oh Gauri, in this birth and also in the others give me such a man as my husband, who laughingly faces the infuriated elephant, that has refused to obey the goad (of the driver)."16 Here one might consider the word gaya as to have shaken off the termination and as such non-inflected in form. But Alsdorf suggests that there is no scope for such a surmise, since by being the fore-member of the Karmadharaya compound the word gaya combines with the immediately following word (i.e. mattaha) an 15 Pischel states "joia ist = *yogika und kann als Nominativ oder Genetiv Singular gefasst werden. Ich habe es hier als Genetiv ubersetzt." [Trans. : joia is = *yogika and can be assumed nom. or gen. sg. I have translated it by assuming it as gen.] Pischel has given in yogika the stem form of the word but the termination should be different if it be in the nom. or gen. (i.e. Yogikah or yogika sya) : here in join both the possibilities occur. Here we do not find that Pischel considered the form joia as endingless, i.e., a non-inflected stem. 16 "Oh Gauri, gib mir in dieser Geburt und auch in den Andern ihn zum Geliebten, der lachend brustigen Elefanten entgegengeht, die den Haken (des Reiters) nicht gehorchen."

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202 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME adj.-with which it has merely transposed place. If this position obtains the word gaya can quite easily be assumed as to have thrown off its termination. But a little reflection shows that this argument of Alsdorf is sure to meet with a grave objection. Because the fundamental condition of samasa stands against it. If there was any scope for compound here it should have been amongst all the words gayaha, mattaha and cattankusaha (an adj. like mattaha), which maintain a syntactical connection. The forming of compounds between the preceding two words leaving the third outside is forbidden and against the procedure of the construction of compounds (vide : samarthah padavidhih. Panini 2.1.1). This condition stands in the way of our accepting Alsdorf's proposition, even if we find some justification for the transposition of place between two components of the compound. Such being the condition we doubt whether anybody would accept the proposition of Alsdorf. Hence this verse, too, which Alsdorf cites in support of his argument, has got practically no worth in establishing his viewpoint. Now it is possible for us to say that in all the above-discussed verses barring that of the Paramatma-prakasa, which Alsdorf unjustifiably draws within the purview of his discussion, there are noninflected gen. forms-most of which are to be interpreted as such and do not admit of any other explanation. But with regard to a few verses we are constrained to modify our statement and suggest that the acceptance of the stem-forms as genitive ones in such cases ascribes to the stanzas a very suitable construction leading to the development of a quite agreeable meaning-but that situation does not rule out the probability of the emergence of other interpretations, consequent on the sudden development of analytical tendencies in Ap. and post-Ap. speeches. These facts should be considered in the background of some other above-discussed phenomena-namely (1) the occurrence of a few non-inflected forms in the Bhavisattakaha and the Neminahcariu, (2) the copious use of such forms in the Praksta-paingala and other late-Ap. works, (3) the development of two cases-the direct and oblique in all the New Indo-Aryans, consequent on the disintegration of old terminations traditionally coming down and (4) finally the appearance of the new mode of using post-positions for indicating case relations in the modern Aryan speeches. Now taking all these facts together into consideration it is possible for us to assert that the loss of inflection in gen. in Ap., which Hemacandra prescribes by formulating a sutra in unequivocal terms, is NON+

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THE NON-INFLECTED GENITIVE IN APABHRAMSA : 203 indeed a non-challengeable fact. The same, we can boldly say, is not a fortuitous manifestation, which baffles all attempts to render an account of the same--but contrarily, a natural developmet keeping perfect harmony with the tendencies, which were unfolding themselves in the great Aryan speech during its subsequent expansion-particularly at the time of its split into modern Aryan languages. So any attempt to deny the occurrence of the non-inflected gen. in Ap. is to disown established facts. So we consider that Alsdorf's proposition is vulnerable to adverse criticisms and the same should be very cautiously scrutinised with due consideration of the above-discussed facts, before one finally accepts it. UD Oo oo WOODOOK

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Some Interrogative Particles in Prakrit L. A. SCHWARZSCHILD NTERROGATIVE particles, such as words meaning 'why' are not subject to many of the semantic influences that bring about the loss of words, and yet such particles are very liable to change. They are constantly overshadowed by the interrogative pronoun and may often be replaced by more specific and intense expressions such as 'for what reason'. Such expressions are generally emphatic and may even border on slang, as for instance English 'why on earth ?' and whatever for?' and they are therefore particularly prone to change with linguistic fashions and even with the taste of individual authors. This can be illustrated from Middle Indo-Aryan. In Sanskrit the sense of why?' was conveyed usually by kasmat, the ablative singular of the interrogative pronoun; a reason was asked for more specifically by kena karanena 'for what reason ?'. A rather more vague inquiry for a cause could be introduced by the neuter of the interrogative pronoun, kim, which was often strengthened by the addition of the particles u, nu, Ichalu etc. Of these expressions kismat has survived occasionally as kamha, the ablative singular of the interrogative pronoun in Prakrit, but it was no longer generally used in the sense of 'why?'. In the Svetam bara Jain canon the other two expressions of Sanskrit, kena karanena and kim maintain their popularity, but they are often used in fixed locutions peculiar to the

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SOME INTERROGATIVE PARTICLES IN PRAKRIT : 205 canon. The most striking of these locutions is the use of the slightly emphatic and adversative particle se to introduce a question. This particle has been derived by Pischell from Vedic sed, sa+id. This derivation no longer seems tenable on account of the Pali evidence, as given for instance by M. Mayrhofer, and from the evidence of Middle Indo-Aryan in general : the distribution of the particle se shows it to be quite clearly a Magadhi form of the neuter singular of the pronoun sa and equivalent to the form tam Page #675
206 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME weakened to ji, though in the case of je this change occurred at a somewhat later date and figures mainly in Apabhramsa.4 The weak particle si was only rarely associated with interrogative locutions at this stage, e. g. Lilavaikaha v. 708 : kattha puno tam si disihasi--' where indeed will you be seen again ?' Professor A. N. Upadhye in his editions has naturally recognised si as a particle here, but the unknown Jaina author of the vstti has failed to do so, and this in itself may be taken as an indication of the rarity of se > si in the later texts. The interrogative introduced by se must therefore be considered as a characteristic of the style of the Svetam bara Jaina canon. Another striking feature of interrogation in the Jaina canon, apart from the particle se, is the particle nam which often follows the interrogative pronouns, e. g., se ke nam janai ke puvvim gamanae ke paccha gamanae-'who indeed knows who is to go first and last ?' (Nayadhammakahao I. 1). It is particularly common with kim, and combines with it to form kinnam-'why?', 'how is it that..?!, e.g. kinnan tumam na janasi--' how is it that you do not know ?', and kinnam tumam Devanuppiya ohayamanasamkappe jhiyayasi--'why, beloved of the gods, do you ponder, your mind and spirit dejected?' (Nayadhammakahao I. 16). There seems little doubt about the origin of this locution from kin + nam, and it has a close parallel in jannan < yad +nam, which is used frequently for instance in the Pannavanasuttam (11). Sometimes however the final syllable of the particle kinnam has been altered and it appears as kinna, e.g., kinna phude (often repeated in Pannavanasuttam XV. 1), and tume nam ima eyaruva divva deviddhi, divve devanubhave kinna laddhe-- how is it that this heavenly, divine wealth and these heavenly divine powers have been acquired by you?' (Uvasagadasao 167). Both kinnan and the alternative form kinna occur occasionally in later Jaina literature and in Maharastri. The form kinna has often been explained as due to the influence of the instrumental kena. It is difficult to believe this in view of the frequency of kinnam which is not noticeably different in use and meaning: the instrumental sense is not really more marked in kinna than it is in kinnam. The change of final -am to - is by no means unusual especially in a particle (e.g., samiyam, 4 The Indeclinable je in Middle Indo-Aryan', Bharatiya Vidya Vols. XX-XXI, p. 213. 5 Lilavai of Kouhala, ed. A. N. Upadhye, Singhi Jain Series Vol. 31, Bombay 1949, pp. 361-362. 6 Pischel, op. cit., p. 304.

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SOME INTERROGATIVE PARTICLES IN PRAKRIT : 207 samiya < samyak in Ardhamagadhi). One might be tempted to quote the Niya form kirna--' whoever', 'whatever' in support of the view that kinna represents kena, but this Niya word may well represent a generalisation of the neuter form rather than a use of the instrumental for the nominative as suggested by Professor Burrow.8 kinnan and kinna mainly belong to Ardhamagadhi and Jaina Maharastri. They are less restricted dialectally in their occurrence than the interrogative se-clauses, and are part of a general tendency to strengthen the particle kim in interrogations. This tendency is continued in the literary Prakrits, and is of course also a feature of Sanskrit. It is noteworthy that in the Prakrit of the dramas the type of strengthening particle used does not vary so much with the dialect of the speaker as with the style of the author : thus kim khu is used by Asvaghosa in the Sariputraprakarana; kim quite simply or kim nu is preferred in all dialects by Sudraka in the Mscchakatika; Bhasa almost invariably writes kim nu khu; Kalidasa uses kim (nu) khu regardless of whether it is in the Magadhi spoken by the policemen in Sakuntala or whether it in the Sauraseni of the Malavikagnimitra, and sometimes he uses kim una < kim punah; Rajasekhara in the Karpuramanjari uses only kim una. The list could be continued, and the Prakrit usage of these authors generally reflects the formulae used for interrogation in Sanskrit by these same authors, e.g., kim nu khalu is prevalent in the Sanskrit text of Bhasa's dramas. The analysis of the interrogative constructions alone would be sufficient proof-if proof were needed that the literary Prakrits of the drama are highly artificial. The formulae for interrogation in particular reflect fashion and even individual style. Apart from the three locutions se kena karanena, se kim and kinnam which are so characteristic of the svetambara canon, there is another, rarer method of expressing 'why' in the canonical texts, which is nevertheless of interest. This is the phrase kassa heum 'why', because of what?'. In this phrase it is quite clear that heum was used adverbially just as was nama 'by name' in Sanskrit. Edgertono has shown that hetu could be used adverbially both in Pali and in Buddhist Hybrid Sanskrit, and the Prakrit usage lends support to 7 Pischel, op. cit., p. 67. 8 T. Burrow, The Language of the Kharosthi Documents fram Chinese Turkestan, Cambridge 1937, p. 35. 9 F. Edgerton, Buddhist Hybrid Sanskrit Dictionary, New Haven 1953, s. v. hetu.

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208 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME this view. Sometimes heum might not appear so readily to be an adverb, as for instance in the phrase kassa nam tam heum for what reason is that?' (Suyagadanga II. 7). An analysis of this phrase shows that tam is the pronoun 'that', and not a pronoun adjective that agrees with heum; the literal translation of the sentence into Sanskrit would be tat kena hetuna. The adverbial use of heum is very clear in the repeated phrases of the Suyagacanga (II. 1) no panassa heuTM dhamman aikhejja, no vatthassa heum......no lenassa heum......no sayanassa heur he should not teach the law for the sake of a livelihood, for the sake of clothes, nor for the sake of a house or a bed...'. Apart from the adverbial use of heum, the phrase kassa heum is interesting in that it almost certainly represents a stage in the development of the usual interrogative kisa 'why?' in Prakrit, Pali kissa. The change of kassa to kissa is easily explicable by the influence of kim 'what', 'why'. The way in which this influence made itself felt can be seen from a Pali Jataka text10 where kissa is used as a genitive neuter, as opposed to kassa in the masculine. It is not surprising that kim should influence the neuter forms, and particularly that kim why ?' should influence kassa heum 'why?' to form kissa (heum), Pali kissa hetu 'why?'. Examples of this use of kissa are found in the later parts of the "vetambara canon, e.g., kissa nam tumam mama puttam egante ukkurudiyae ujjhavesi'why do you cause my son to be abandoned in a deserted place, a place used for refuse?' (Nirayaraliyao I). With simplification of the double consonant and compensatory lengthening kissa became kisa in Prakrit, and figured as a very usual form of interrogation in Jaina Maharastri texts, such as the Vasudevahindi and the Lilavaikaha. It was also used in the Magadhi and Sauraseni of the dramas, but its frequency is very much dependent not on the dialect, but on the individual taste of the author : thus it is absent from Kalidasa's works and rare in the Kuvalayamala. The form kisa had to some extent become independent of the interrogative pronoun in Jaina Maharastri, and did not correspond to the normal genitive form, which was kassa in the masculine and neuter, and lise, kie in the feminine. kisa became rare in Apabhramsa, but it has survived in the Old Gujarati as kisa, kisa, which, as K. R. Norman has pointed out, can hardly be derived from kidssa.11 10 W. Geiger, Pali Literatur und Sprache, Strassburg 1916, 111. 11 K. R. Norman, JRAS 1964, p. 67.

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SOME INTERROGATIVE PARTICLES IN PRAKRIT : 209 The more popular Jaina Maharastri texts already show signs of new developments; thus kiha 'why' appears in the Vasudevahindi (92. 16), kiha bihesi why are you afraid ?'. This word must probably be explained from katham "how?' influenced by kim. New forms based on the interrogative pronoun, particularly the neuter plural kaim, become prevalent in Apabhramsa, and a new cycle of fixed locutions begins. Go2000 GJ.V. 14

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Hemacandra and the Linguistic Tradition PRABODH B. PANDIT IT MAY be useful to understand the linguistic judgement of Hema candra, the medieval grammarian of Prakrit, even though one may not agree with his mixing up of data and source material or one may charge him with undue leaning on and indiscriminate borrowing from earlier Prakrit grammarians. When a medieval grammarian describes a number of languages and dialects in one treatise, one is curious about the underlying ideas of linguistic relationship during that period; probably the provenience of ideas of linguistic relationship may be the whole period rather than one author, but even then, the author's understanding and application of notions of language relationship may provide a useful framework to assess the medieval grammarians of Prakrit. This short note is an attempt in that direction. Hemacandra (Siddha-Hema VIII. IV onwards; especially VIII, IV 260 onwards) has dealt with the varieties of Prakrit as dialects and has described the major dialect in details. His major dialect is (Maharastri) Prakrit; Sauraseni is described as a dialect variation from the major dialect. The three other dialects Magadhi, Paisaci and Apabhraisa are described as variants within the Sauraseni-as the members of the Sauraseni group. (Hc. ends his description of these dialects by the statement sesam Saurasenivat.) Though no chronological sequence is intended, it is reasonable to separate Maharastri from the

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HEMACANDRA AND THE LINGUISTIC TRADITION : 211 rest, esp. Sauraseni, Magadhi and Paisaci : the total loss of some classes of intervocalic stops in Maharastri on the one hand, and retention or voicing of intervocalic stops in the rest. Hc. groups Apabhramsa also under Sauraseni, because he notices some common phonological features (intervocalic -- > -d-) between the two. Hc. further includes Ardhamagadhi as a subgroup under Magadhi and Culikapaisaci as a subgroup under Paisaci, as variants which are separated only by one or two features. This grouping and subgrouping of languages and dialects (though the data were literary) indicates that the sorting of general features and special features, germane to comparative work in linguistics was not neglected by the author of Siddha-Heina. Prakrit grammarians' classification may, therefore, have some basis in this understanding; even if one may explain it, following the later (14th century) eastern grammarians, Ramasarma and Markandeya, that whatever is used on stage is bhasa or vibhasa, the rest is Apabhramsal, the subgroupings of Hc. and grouping of Apabhramsa in the Sauraseni subgroup indicate a judgement of linguistic relationship. If Hemacandra has won laurels from R. PISCHEL, he has also been severely criticised by Luigia Nitti-Dolci?; but we are less concerned here with his selection of data; Hemacandra could also be interpreted as a witness to the understanding of linguistic relationship in medieval India. Another evidence of his familiarity with the comparativists' tools is his compilation of words of doubtful (native, non-Sanskritic) 1 LUIGA NITTI-DOLCI, 'Les Grammairiens Prakrits', Adrien-Maisonneuve, Paris, 1938. Ramasarman II. 3. 31 : sakarakaudra-Dravidadi-vaco 'pabhramsatam yady api sarsrayanti syan natakadau yadi samprayogo naitasv apabhramsataya tathestih and her comment (on pp. 122) : "Nous voyons ici comment le classement des langues se faisait chez les grammairiens prakrits : d'apres l'usage litteraire et non pas d'apres la nature de la langue. Un dialecte, quel qu'il soit, employe sur la scene etait une bhasa ou une vibhasa, selon le degre de respectabilite des personnages auxquels il etait attribue. Un dialecte employe dans la litterature non theatrale etait un Apabhraisa." 2 Nitti-Dolci, ibid., Chapter 5.

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212 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME origin, his Desi-sadda-samgaho, or Rayanarali (also known as Desinamamala) which supplies a lexical residue, containing items which could not fit in with the Sanskrit-Prakrit correspondences set up by him. We know that this is how a comparativist proceeds; he collects the cognates which display regular correspondences, and separates the rest of the lexicon, which could be taken care of either by analogy or borrowing. It would be, of course, not useful to find fault with Hemacandra's etymologies; we have much more analysed data and refined tools, but we can profitably appreciate his familiarity with the notions of regular and irregular' in comparative historical linguistics.

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Glimpses of Jainism Through Archaeology In Uttar Pradesh M. L. NIGAM THE historicity of Jainism in the modern State of Uttar Pradesh is shrouded in a long mysterious past. Parsvanatha, an immediate predecessor of Vardhamana Mahavira and a real historical personage, appeared in Banaras, two and a half centuries earlier than his (last) successor. Although born as a prince of King Asvasena of Banaras, Parsvanatha, the twenty-third Tirthankara, preferred a life of complete renunciation and purity. He sponsored non-injury (Ahimsa), non-lying (Satya), non-stealing (Asteya) and non-possession (Aparigraha) as four vows to which Mahavira, the great Jina, made an addition by putting forward non-adultery (Brahmacarya) as the fifth one to be strictly observed by every householder in the society. The date of Parevanatha, who seems to have left a well-formed organization as a legacy to Mahavira, may roughly be assigned somewhere in the eighth century B.C. Several archaeological discoveries at Mathura and its vicinity have shown that Jainism was highly venerated there in the early. centuries of Christian era, and even earlier. The facts revealed by the architectural and sculptural remains have further been confirmed by epigraphic evidences. The flourishing state of Jainism, gathered from the inscriptional data, may very well be imagined by studying the various sections known as gana, kula and sakha which

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214 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME were offshoots of one and the same cult. At Mathura, Jainism commanded equal respect from both men and women, rulers and the ruled, nomads and the civilized and the foreigners as well as local inhabitants. Mathura, one of the ancient image-preparing centres of India, seems to have been subjugated by the Sakas, a nomadic tribe from Central Asia, somewhere during the early years of the Christian era. At that time, Mathura was a seat of religious learning. King Kharavela of Orissa, who went to Mathura in order to release his captured army generals during the eighth year of his reign made charitable endowments to the Brahmanas and the Arhatas.1 The above inscriptional statement leaves no doubt that Jainism was at its helm at Mathura in the last quarter of the first Century B.C. The earliest figures of the Yaksas (fig. 1 of a Yaksi) and Nagas from Mathura and its vicinity which represent folk-art of the country probably belonged to the Brahmanical creed. Needless to say, Jainism must have formed a nucleus to attract the intelligentsia and the royal patronage at Mathura. The Sakas proved no exception to that. A dated inscription of the year 72 during the reign of Mahaksatrapa Sodasa from the Kankali mound, Mathura, specifically suggests that the practice of offering sacred stone slabs (Ayagapatas), to pay homage to the Arhats, had already come in vogue. The other epigraphic documents of sodasa are dated in the Vikrama Samvat, thus the date assignable to the present inscription would fall in 15 A.D.2 The rule of the Kusanas, after the Sakas, gave an unprecedented impetus to Jaina art. Many Tirthankara images in spotted red sandstone belonging to the Kusana age are preserved in the Archaeological Museum, Mathura, and the State Museum, Lucknow. After the Kusanas, the other imperial power which arose in North India is that of the Guptas who were staunch followers of Vaisnava cult. Consequently, the growth of Jainism had to meet a long setback in the domain of art and culture of Uttar Pradesh. However, the activities of Jaina patrons who hailed mainly from the business community did not remain at standstill. We find a few but excellent pieces of the Jaina art from different places in U. P. which belong to the Gupta period. But the revival of Jainism, which started in the post-Gupta age, is marked during the rule of the Chandelas who gave a zealous support to the cause of Jainism. 1 Ind. Ant. 1926, p. 145. 2 Ep. Ind. Vol. XIV, pp. 139-141.

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GLIMPSES OF JAINISM THROUGH ARCHAEOLOGY IN U.P. : 215 The Architecture : The earliest architectural remains pertaining to Jainism have been brought to light from various sites around Mathura. The architectural fragments such as the Toranas (gateways), pillars and railings, which were unearthed by Dr. Fuhrer, certainly belonged to an ancient Jaina stupa which existed at Mathura prior to the Christian era. The existence of such a stupa is further evidenced by an epigraphic record dated in the year 79 (A.D. 157) which is inscribed on the base of an image once supposed to be of the Arhat Nandyavarta, but now shown as that of Munisuvrata by K. D. Bajpai who corrected the old reading (Fig. 2). The stupa mentioned therein is recorded as a work of gods which itself is a great proof of its hoary antiquity. V. A. Smith aptly remarks, "Considering the significance of the phrase in the inscription, built by the gods', as indicating that the building at about the beginning of the Christian era was believed to date from a period of mythical antiquity, the date B.C. 600 for its first erection is not too early." The other types of Jaina architecture in Uttar Pradesh are the monastic establishments and temples which mostly belong to the early medieval period of Indian history. The earliest Jaina temples belonging to this group have been found in the Lalitpur Tahsil of the Jhansi district, in U. P. There are numerous Jaina architectural remains scattered around at several places such as Deogarh, Dudhai, Madanpur etc. The Jaina temples at Deogarh belong to different dates. The main shrine consists of an open pillared hall with six rows of six pillars each. There is a huge collection of images of naked Jaina Tirthankaras carved on a wall in the centre. In front of the hall there is a detached portico supported on four massive pillars which contain important inscriptions. On one of the pillars we find an important epigraph of King Bhoja Deva, the Gurjara-Pratihara ruler. There are many other Jaina shrines, belonging to later period. We also find an inscription in one of these temples, stating that it was built in Samvat 1493 (A.D. 1436), which clearly shows that Jainism continued to flourish in this region at least upto the 15th cent. A.D. At Dudhai, another historical centre in the Lalitpur Tahsil of Jhansi District, we find a group of Jaina temples lying half a mile to the south-west and collectively known as the Bania Ka Barat. The 3 Smith, V. A.," The Jaina Stupa and other Antiquities of Mathura", see introduction.

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216 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME ruinous condition of the temples shows that they must have been magnificent specimens of Jaina architecture at the time of their original construction. Again at the site of Bari Dudhai, we still find a Jaina temple standing along the side of a place called Akhara. The latter is a circular structure of low and flat roofed cells, which appear to have been originally some forty in number but of which now about seventeen exist. Madanpur, a village lying 39 miles south-west of Lalitpur, also contains numerous Jaina structures belonging to the Chandela period. On one side of the village is a Jaina temple with an inscription dated in Samvat 1206 or A.D. 1149 which gives the name of the place, Madanpur. At Marpha, a small fort on the steep hill in Banda district, we find the remains of a great monastic establishment (Mulasanghavihara) of the Jainas. The long surrounding area and the existing remains clearly exhibit the flourishing state of Jainism around this region in the 14th century A.D. The fragmentary inscriptions, so far unpublished, do mention the existence of a Mulasanghavihara there at the time of the Baghel dynasty. Besides the above architectural remains, there are many other solitary examples of the Jaina architecture scattered all over the Uttar Pradesh, which manifest the popularity of this religion in the area. Sculpture : Many excellent images of the Jaina Tirthankaras and other subsidiary deities have been brought to light from all over U.P. which range from the first century A.D. to the present era. This richness of the material, both in quality and quantity, is a great proof that Jainism commanded untiring respect amongst the people of this region from remote antiquity. The sculptural remains of Jainism from Mathura, Jhansi, Hamirpur, Sitapur, Allahabad, Varanasi and many other districts of Uttar Pradesh lend support to the above conclusion. Evolution of Jaina Statuary : The earliest archaeological evidence regarding the construction of images of Jaina Tirthankaras is the Hathigumpha inscription of the last quarter of the first century B.C. of King Kharavela of Kalinga, 4 Nigam, M. L. "Impact of Jainism on Mathura Art", J. U. P. H. S., Vol. IX, Part I, plates VI and VII.

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RYD t? xus RXY NIKETRO Fig. 2. Pedestal of the image of Munisuvrata Fig. 1. Yaksini from Mathura 2nd Century A.D. (See p. 214.)

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BUBE Fig. 3. Image of a Tirthankara from Sitapur, Gupta period Fig. 4. Sarvatobhadra (twofaced) Image of Tirthankara 9th Century A.D. Sarai Aghat (Etah) Fig. 5. Parsvanatha from Mahoba (12th Century A.D.)

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GLIMPSES OF JAINISM THROUGH ARCHAEOLOGY IN U.P. 217 wherein he is stated to have brought back the statue of a Jaina Tirthankara, probably Mahavira, originally belonging to Kalinga but forcibly taken away from there to Magadha by some Nanda monarch. The excavations by Dr. Fuhrer at Kankali mound, Mathura have brought to light several inscribed stone slabs known as Ayagapatas. As their inscriptions read, they were dedicated for the worship of the Arhats. These early symbolic representations of the Jaina pantheon are profusely ornamented with various auspicious marks such as the svastika, a pair of fish, mangala-ghata and tri-ratna, etc. The earliest Ayagapatas bear a replica of the Jaina stupa along with the aforesaid. symbols but are devoid of any Tirthankara image. In the later specimens, the effigy of the Jina is also shown seated in the attitude of deep meditation in the centre of an Ayagapata. The carvings of the former specimens are more flat and archaic in character while the latter ones exhibit a sense of artistic supremacy. It will not be, therefore, unreasonable to believe that the Jainas too, alike the Buddhists, had developed symbolic worship prior to the date when the anthropomorphic representation of the Jainas had come in vogue. Smith is perfectly right when he observes, "Among the Jainas they. (Ayagapatas) probably went out of fashion at an early period as the inscriptions on them invariably show archaic characters". This is why. the earliest images of the Jaina Tirthankaras which we find in round, are datable to the early centuries of the Christian era. And if the evidence of the Hathigumpha inscription regarding the evidence of an image of a Tirthankara is to be believed it must have been an effigy of a Jina carved on Ayagapata. Kusana Age: The earliest images of the Jaina Tirthankaras which belong to. the Kusana age have been unearthed both at Mathura and Kausambi in Allahabad district of Uttar Pradesh. The beautiful specimens from Mathura are housed in the Lucknow and Mathura museums whereas the Jaina sculptures from Kausambi are exhibited in the University. Museum, Allahabad, U. P. The images are both in sitting as well as standing postures. Standing images are invariably in the Kayotsarga. Mudra while the seated ones are carved in meditation poses. The body of a Jina must be adorned with several auspicious marks prescribed for the Mahapurusas. It must possess Usnisa (Protuberance over the head), Urna (a raised point between the eye-brows), Srivatsa, elongated

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218 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME ears, long arms stretching upto the knees, wheel on palms and soles etc. Aesthetically the early Jaina images of the Kusana age are primitive and bear a flattish look. Profuse ornamentation and varied iconographic features had not yet been introduced. The figure is seated on an ordinary pedestal with a conventional wheel placed on a pilaster in centre and devotees on both the sides. The folds of drapery are heavier and based on the Indo-Scythian style. Around the head of the main deity there is a simple halo with scalloped border. Gupta Age : Coming to the Gupta age, the artistic supremacy is well achieved and the images are beset with inner and outer qualities of perfection. The physical flatness and crudeness of line are replaced by a balanced body and controlled modelling. The serene and divine radiating influence of the faces is indicative of high spiritual attainments of Tirthankaras. The half-open eye-lids directed to the tip of the nose exhibit a sense of deep contemplation. The simple halo is further ornamented by the undercut foliage in bold relief. The ordinary pedestal of the Kusana age has also undergone a change. Supported by a lion on each side, it sometimes represents a Simhasana and sometimes a lotus-seat (Utthita-Padmasana). Iconography of Jainism in the Gupta period is much varied and complicated. Various gods and goddesses of the Hindu pantheon are adopted and occur as subsidiary deities of the Jinas. For instance, the figures of Vinnu, siva, Kubera, Hariti, Sarasvati, Yaksas, Gandharvas and navagrahas are shown attending the presiding image, i.e., a Tirthankara. Originally, it started in the form of a sectarian rivalry but later all these gods and semi-gods formed a part of the adopting religion. Most of the Tirthankara-images belonging to the Gupta age have come from Mathura but few solitary instances in the same red sand-stone of Mathura have also been acquired from various other districts such as Banaras and Sitapur (see fig. 3), of Uttar Pradesh. These figures must have originally been imported from Mathura. Mediaeval Period : With the advent of the medieval period Jainism seems to have regained eminence in Uttar Pradesh, particularly in the region of Bundelkhand. It is an era of Jaina revivalism. Numerous sculptures

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GLIMPSES OF JAINISM THROUGH ARCHAEOLOGY IN U.P. : 219 from Mahoba, the capital of the Chandelas, in the Hamirpur district, and certain other areas of Jhansi district in Bundelkhand, are dedicated to this cult. Although the aesthetic excellence acquired during the Gupta Age seems to degenerate, yet the iconography of these images is much more advanced. The art is no more creative and the sculptor simply tries to carry on the canonical injunctions abiding with the set artistic patterns of the past. Stress is laid more on the ornamentation and multiplication of the forms whereas the creative genius of the Gupta-art fails to occupy the same position. Due to lack of balanced modelling, the facial features and contours of the body become sharp and prominent but the supreme serenity and poise to exhibit the inner strength of a divine conqueror (Jina) are conspicuous by their absence. Thus the communicating power of the art has altogether gone and images behave like puppets of a mute-show. The stone used for the Mahoba Jaina Sculptures is black basalt which the artists commonly employed as a material to produce images. The pedestal has undergone a further change. It is supported by two dwarf pillars and a pair of lions with lavish ornamentation. Donors, both male and female, of the statue, stand half concealed behind these pilasters. An ornamental cloth hangs down between the two lions beneath where the particular symbol of the Tirthankara is placed. To the right and left of the principal statue, may stand its respective Yaksa and yaksi and the Chauri-bearers. On the upper part on both sides, figures of Gandharvas, Nagas and Ganas carrying garlands or drums are seen flying to pay homage to the Jina. Each of these two groups is surmounted by an elephant standing on lotus flowers and offering garland with its lifted trunk. All the twentyfour Tirthankaras may also be carved on one panel showing Mahavira in the centre surrounded by the remaining pontiffs. Another familiar device was to carve out a stele exhibiting four standing nude figures of the Jina on all the four sides of the stone (Sarvatobhadra-pratima) (see fig. 4). A statue of Parsvanatha in black stone from Mahoba, now preserved in the State Museum, Lucknow, and dated in Samvat 1253 = 1196 A.D. is illustrated here in fig. 5. Miniature-Paintings : Signs of degeneration and deterioration of plastic art became universal in the domain of Indian art, the wealthy patronage of the Jainas could not remain contented with this dying media of visual

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220 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME communication. The Jainas had also diverted their opulence towards the pictorial art. The focus of art appears to have shifted from stone to palm-leaves and paper and from chisel to brush and colour. Bands of illustrated manuscripts depicting scenes from Jaina mythology were painted and produced. The artist of Uttar Pradesh had his own part to play in this fresh religious activity of Jainas. An illustrated Jaina-manuscript from Jaunpur in east U. P., although the only surviving example, is significant proof to manifest the healthy traditions of Jaina pictorial art in Uttar Pradesh during the mediaeval period. 2. W ULTATTO CORSO WD

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Sindhu-desa Of Jaina Literature is Tirabhukti (North Bihar) YOGENDRA MISHRA IN 1936 the late Kamta Prasad Jain raised an important and pertinent problem relating to early Jaina literature and Indian political geography. He pointed out that some Digambara Jaina books placed Vardhamana Mahavira's birthplace Visala or Vaisali, whose chief was Cetaka, in Sindhu-desa or Sindhu-visaya, and furnished the following quotations in this connection: 1 Jaina-Siddhanta-Bhaskara, Vol. 3 (September, 1936), p. 50, foot-note. To these we may add the following from the Maha-Purana of Puspadanta, an Apabhramsa work completed in A.D. 965 (chapter 98, section 9, P. L. Vaidya's edition, Vol. III, Bombay, 1941, pp. 241-243) - "felaug agar grafi gharasiriohAmiyasuravaraghari // 2 // ceDau NAma garesaru Nivasai / devi akhudda suhadda mahAsaha // 3 // piyakAriNi varaNAhakulesahu / / siddhatthahu kuMDauraNaresahu // 10 // "

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222 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (1) "sadyukte sindhudeze vai vizAlA nagarI matA / / ceTakAkhyaH patistasya subhadrA mahiSI matA // " -Vimala-Purana (2) "bhramansannekadAyAtaH sindhudeze manohare / sindhuvelA samudrAsikSetrazAlocaTTakapriye (1) // 7 // vizAlAkhyA purI tatra vartate zAlamaNDitA / dhanadhAnya nidhAnaizca devanAthasya pUriva // 8 // sAmantabhavasaMsenyazceTakaH patitAM purIm / tasyAgramahiSI ramyA subhadrA sukhakAriNI // 9 // " -Srenilca-Caritra (3) " sindhudeze vizAlAkhyapattane ceTako nRpaH / zrImajinendrapAdAbjasevanaikamadhruvataH // 4 // " -Aradhana-Katha-Kosa (4) " sindhvAkhye viSaye bhUbhRdvaizAlInagare'bhavat / ceTakAkhyo'tivikhyAto vinItaH paramArhataH // 3 // " -Uttara-Purana (75) He then raised the question as to what might have been the reasons of the Digambara Jaina scriptures saying that Visala or Vaisali was in Sindhu-desa, and made two suggestions : First, it might be that the authors had equated Sindhu-desa with Vrji-desa. Secondly, there might have been a confusion especially because Ujjayini in Avanti, too, was called Visala' and there was a Sindhu river in the adjoining territory for which reason it was called Sindhudesa in the middle ages (8th to 15th centuries A.D.). The Digambara writers, Kamta Prasad Jain adds, lived more in the Ujjayini side and hence they appear to have confused Ujjayini (which was also called Visala) for the real Visala, little knowing that another Visala, different from their own, existed in Eastern India; moreover, Vaisali lay in ruins as we know from the account of Hiuen Tsiang, and this factor might have easily led the Jaina writers to forget the real Vaisali. We are of the view that the Digambara Jaina authors knew the 2 Jaina-Siddhanta-Bhaslcara, 3, p. 51. 3 Jain does not offer any reason for the possible equation. 4 Cf. Kalidasa in Meghaduta (I. 30). 5 Jaina-Siddhanta-Bhaskara, 3, pp. 51-52.

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SINDHU-DECA OF JAINA LITERATURE IS TIRABHUKTI : 223 geographical position of Vaisali and Kundapura correctly; they simply used Sindhu-desa or Sindhu-visaya as a synonym for Tirabhukti. Our explanation for this is as follows: The oldest term for North Bihar was Videha. From the Gupta period (fourth-fifth centuries A.D.) onwards it came to be known as Tirabhuktis, which literally means 'the Province or Country situated on the Banks (of Rivers)'. In poetry synonyms are freely used. Hence the Province or Country of Rivers' could also be called Sindhu-desa or Sindhu-visaya, because one of the words for river is sindhu.? A confirmation of the explanation offered above is available when we find that the Jaina Uttara-Purana (75) places the territory of Cetaka near Rajagsha, the capital of Magadha "kadAcicceTako gatvA sasainyo mAgadhaM puram / rAjadrAjagRhaM bAhyodyAne sthAnapurassaram // 20 // " This means that these were neighbouring states. Thus, in our opinion, the Digambara Jaina writers did not believe that Vaisali lay in Sind or the Indus valley or on sea-coast or in Central India. Its placing in Sindhu-desa or Sindhu-visaya instead of Tirabhukti was only a literary nicety.8 In our opinion Tirabhukti was transformed into Sindhu-desa or Sindhu-visaya in the following manner : tIrabhukti = (791) artefato = nadItIrabhukti = a(at)fto = a punti = fere or for at or feryfaqt. 6 Cf. the legends on the seals discovered at Vaisali (modern Basarh, Muzaffarpur District, Bihar State) which give this word, Archaeo logical Survey of India Annual Report, 1903-04, p. 109. 7 Vide V. S. Apte's Sanskrit-English Dictionary. 8 Elsewhere (An Early History of Vaisali, Delhi, 1962, pp. 228-237) we have discussed in detail as to how the Jainas forgot Vaisali and Kundapura (Kundagrama) completely and what measures have been taken by the Vaisali Sangha, a premier cultural organisation of Bihar, for the revival of this Jaina tirtha and centre.

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224 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Incidentally, we may add that desa and visaya have been used synonymously as seen in early Jaina literature itself : 1. Jinasena of the 8th Vikrama century says in Harivamsa-Purana (1. 2): " atha dezo'sti vistArI jambUdvIpasya bhArate / videha iti vikhyAtaH svargakhaNDasamaH zriyaH // 1 // tatrAkhaNDalanevAlIpaminIkhaNDamaNDanam / sukhAmbhaHkuNDamAbhAti nAmnA kuNDapuraM puram // 5 // " 2. Gunabhadra of the 10th Vikrama century says in his Uttara-Purana (74) : "tasminSaNmAsazeSAyuSyAnAkAdAgamiSyati / bharate'sminvidehAkhye viSaye bhavanAGgaNe // 251 / / rAjJaH kuNDapurezasya vasudhArApatatpRthuH saptakoTimaNiH sArdhA siddhArthasya dinamprati // 252 // " -Page 460, Bharatiya Jnanapitha ed. The same writer says later in that book (75) : " videhaviSaye kuNDasajJAyAM puri bhUpatiH // 7 / / nAtho nAthakulasyaikaH siddhaarthaakhystrisiddhimaak| tasya puNyAnubhAvena priyAsIpriyakAriNI // 8 // " ---Page 482, Bharatiya Jnanapitha ed. 3. Sakalakirti (who died in A. D. 1464) says in his VardhamanaCaritra (VII): "atheha bhArate kSetre videhAbhidha UrjitaH / dezaH saddharmasaGghAdyaiH videha iva rAjate // 2 // ityAdivarNanopetadezasyAbhyantare puram / rAjate kuNDalAmikhyaM......... // 10 // " 9 Of these, No. 2 (second part) is quoted by Vijayendra Suri in his Vaisali, 2nd ed. (Bombay, 1958), p. 40 and Tirthankara Mahavira, Vol. 1 (Bombay, 1960), p. 81; the remaining quotations are collected by K. Bhujbali Sastri in Jaina-Siddhanta-Bhaskara, 10 (December, 1943), pp. 60-61, footnotes. by K. Bhuway, 1960), p.81208), p. 40

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The Jaina And Non-Jaina Versions Of The Popular Tale Of Candana-Malayagiri From Prakrit And Other Early Literary Sources RAMESH N. JANI THE tale of Naravikrama appears in the Fourth Prastava of Gunacandra's Prakrit work "Mahaviracariya" composed in V. S. 1139 (1083 A.D.). It is about the troubles of Prince Naravikrama, his wife and their two sons who are separated from each other. After much suffering and hardship all the members of the family are happily re-united. During this period of their calamities Naravikrama's wife Silavati's character is also tested. In the end both of them renounce the world. This very tale has subsequently become greatly popular under the title The Story of Candana and Malayagiri (which are but changed names of Naravikrama and Silavati). In the present paper six different versions, five Jaina and one non-Jaina, of the story are studied comparatively. The earliest of the known versions was by Bhadrasena (about 1619 A.D.) and the latest by Samala (later part of the 18th century A.D.) The paper also points out that apart from variations regarding the extent, treatment, poetic merits etc., there are distinct diversions in the central motivations of the narrative. Incidentally, the growth and development of the story. has also been examined. G.J.V. 15 .

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226 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME OUTLINE OF THE STORY IN THE MAHAVIRACARIYA Prince Naravikrama, the son of King Narasimha of Jayanti Nagari, married Princess Silavati the daughter of King Devasena of Harsapura. Once he saved the life of a pregant lady from the enraged royal elephant Jaya Kunjara by killing it. Angered by the death of his favourite and auspicious elephant the king banished the prince from his kingdom. Silavati followed her husband undeterred by his persuasion to go to her father's kingdom. Naravikrama leaves his father's capital Jayantinagari, and goes to Syandanapura along with his wife Silavati and two sons, Kusumasekhara and Vijayasekhara. In Syandanapura the whole family works as servants of a Mali or gardener called Patala. Naravikrama and Silavati had to gather fiowers from the garden and weave garlands. Silavati, again, had to go to the street with the Mali's wife to sell them. Once when she was selling flower-wreaths a very wealthy sea-trader (Vahanavati) named Dehilla was attracted towards her. Every day he used to buy wreaths from her and tried to create a very good impression on her. One day he asked her to deliver garlands on the sea-shore from where he was to sail for far-away countries. When Silavati went there he kidnapped her and sailed off. Naravikrama, with his two sons, came on the bank of the river in search of his wife. Keeping his two sons awaiting he left for the other bank in search of Silavati. When he reached half-way in the river, he was suddenly dragged by the powerful current of the flooded waters. He was, however, saved by a log of wood and ultimately reached the outskirts of the Jayavardhananagara. Kirtivarma the king of the city, had died all of a sudden without an heir to the throne and the ministers of the kingdom were out to elect a new king with the help of a devine elephant. The elephant spotted Naravikrama and garlanded him. According to the customs they made him their king. Naravikrama was, nevertheless, very unhappy because of the separation from his wife and two young sons. He was advised by a holy Jaina monk to perform religious duties, so that he could be reunited with his family. The waiting sons of Naravikrama were found and reared up by a shepherd who was quite friendly with the kings of Jayavardhananagara. When he came to visit the king along with his two adopted

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THE POPULAR TALE OF CANDANA-MALAYAGIRI : 227 sons, Naravikrama immediately recognised them. Thus, the two sons and the father were united after a great deal of hardship and anxiety. Dehilla, the wealthy sea-trader, after kidnapping silavati in his ship tried very much to win her over both with persuasions and by torture. But Silavati, true to her name, did not yield to his evil desires. As if angered by the evil designs of Dehilla his ship was caught in a storm by the goddess of the sea. The power of her chastity was unassailable and a heavenly voice, Akasavani, warned him with dire consequences if he continued to harrass silavati. Dehilla came to his senses and the storm subsided. He begged the good lady's pardon and promised to set her free. On its long sea-journey Dehilla's ship anchored at Jayavardhananagara, the capital of Naravikrama. Dehilla went to Naravikrama to pay his homage. Naravikrama liked his company and wanted him to stay at his palace. At Dehilla's request the king sent his two sons to guard his ship, where they met their mother. Thus, all the four of them were happily reunited and Naravikrama punished Dehilla. Because of such momentous results Naravikrama was much impressed by the greatness of the Jaina Dharma and became all the more religious-minded. King Narasimha, Naravikrama's father, came to know of his son's adventures and immediately sent for him. Naravikrama, after making over his throne to his sons, went to Jayantinagari. Narasimha took pravrajya and Naravikrama succeeded him. After years of just and benevolent rule Naravikrama also took pravrajya along with his wife and attained the position of a god (deva) in the Mahendra Svarga'. The Purpose of the Story : The narrator of this episode in the Fourth Prastava of the Mahaviracariya lays a special stress on the Parva-Karma-Phala-Paripaka. The calamities that befall a man's life are nothing but fruits of his own past deeds. These can be undone by his faith in the Jaina Dharma. Along with this central purpose of the story, the author also aims to praise the importance of faminine chastity. Here, even the goddess of the sea comes to the resque of the princess, and paves the way for her ultimate reunion with her family. We may point out that

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228 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME in all the subsequent Jaina versions of the Naravikrama-story, we find the self-same motivations of the all-powerful law of Karma and the glorification of Sila. THE SUBSEQUENT VERSIONS: As observed at the outset, we come across many Jaina versions of this story with Sila or chastity of character and glorification of the Jaina Dharma as its ultimate ends. Dr. B. J. Sandesara has truthfully described seven early Gujarati Jaina versios of this story on the basis of the notes given in Shri Mohanlal Dalichand Desai's monumental work Jaina Gurjara Kavio. He has also noted the oldest version of Bhadrasena-a Jaina Muni-who composed it in V. S. 1675 (i. e. 1619 A. D.) Shri Sarabhai Navab has published this version with some introductory notes in the Acarya Anandasankara Dhruva Smaraka Grantha. The language of Bhadrasena's story is an early form of Vraja Bhasa. The respective authors of the above-mentioned Jaina versions are Jina Harsa (V. S. 1704), Sumati Hamsa (V. S. 1711), Ajita Canda (V. S. 1736), Jina Harsa (V. S. 1745), Yasovardhana (V. S. 1747), Catura (V. S. 1771) and Kesara (V. S. 1776). Besides the Prakrit version and those noted by Dr. Sandesara several other Jaina versions of the story are also known. The lone non-Jaina example is that of the famous medieval Gujarati poet Samal (later half of the 18th cent). His version has primarily a narrative interest. The purpose of his story is neither religious nor explicitly didactive. He has no doubt contributed, to a great extent, towards giving the story a wide-spread popularity. The present writer has examined from a comparative point of view the following versions of the narrative under consideration besides the Prakrit and the Samal Versions: ..... 1. "Candana-Miliyagiri Caupai." (MS. B. V. B. 57) of Jina Harsa. Date of composition: V. S. 1704. 2." Candana Miliyagiri Raso." (MS. B. V. B. 58) of Rama Muni. Date of composition: V. S. 1711. 3. "Candana Malayagari Varta." (MS. B. V. B. 59) of Bhadrasena, Date of composition: V. S. 1675.

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THE POPULAR TALE OF CANDANA-MALAYAGIRI : 229 4. " Candana Raja Caupai." (MS. B. V. B. 60) of Hiravisala-Sisya. Date of Composition : V. S. 1620. 5. "Candana-Malayagiri-ni-Copai". (Of Pandita Ksema Harsa) The last one is published but details regarding publishers, date of publiction etc. are not available. Date of composition is also not available. Samala's version too, known as "Candana and Malayagiri" is not a separate, self-contained composition but it is one of the stories (No. 8) of his story-cycle "Madapacisi", which in its turn is a part of his famous Vikrama-Cycle of legends called Simhasana Batrisi. In what follows, these different versions are compared from the point of view of their incidents and characters, which would incidentally also show, how the original Prakrit story fared in its later recountings. DEVELOPMENT OF THE STORY: MODIFICATION OF INCIDENTS AND CHARACTERS In the Naravikrama-story, his banishment was the direct result his killing of the king's favourite and auspicious elephant Jayakunjara, while in Bhadrasena's "Candana-Malayagiri-Varta" or "Caupai " the cause of the king (here, Candana) leaving his kingdom is altogether different. The calamitities that fell upon Candana are ascribed to the vagaries of Fate. One night Candana's family deityKula-Devata'-warned him of his immediately impending calamities. So Candana left his kingdom instantly along with his wife and two sons, Sayara and Nira. The change found for the first time in Bhadrasena had come to stay and in the subsequent Jaina versions this initial episode is narrated practically in the same way. In Samala Bhatta's story this initial story-motif receives a further modification and thereby it becomes dramatic. The warning to the king came in the mid-night, not in a dream but in reality. And the warning agency was not a dream-character, the Kula-Devata, but some mysterious voice actually heard. The voice spoke aloud : "Shall I fall on you.......... When shall I fall on you-now or later?" ("Padu ?.... Padu?......" etc.)

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230 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME The king in turn asked it to fall immediately. He wanted to brave it now, rather than to face it in his old age. The adverse fate does strike him. The king is defeated by a neighbouring King Pundarika and he has to run away with his wife and two sons. The calamities also were lying in wait. Now we can trace the roots of this motif in the PrabandhaCintamani of Merutunga (13th cent.) in its 'Suvarna-Purusa Siddhi Prabandha' which forms a section of the Vikramarka Prabandha (Chapters 3-7, First Ullasa). In the "Suvarna-Purusa Siddhi. Prabandha' it is related that a wealthy merchant built a palace for himself. He spent a good deal of amount in its construction. During the construction and at the time of occupying his new building, he performed all the required religious rites. Yet on the very first night of occupation he was terribly frightened by a mysterious voice telling him "I am falling!". The wealthy merchant requested the unknown voice not to fall on him and ran away, that very moment, from his newly built mansion. Next day he told this story to King Vikrama, who after carefully hearing his plight purchased his house outright and went to sleep in it that very night. He also heard the same voice : "I am falling!". The brave king told the Voice' to fall immediately. At that very moment a Golden statue'- Suvarna-Purusa', the fruit of constructing the building in keeping with all the auspicious Muhurtas and rites-fell. Thus the great king Vikrama got the title "SuvarnaPurusa", which always became whole, notwithstanding cutting it out in slices. There is another point also in which Samala's version differs from all of the earlier versions. The sea-trader Dehilla, of Gunacandra, Bhadrasena and others, is substituted in Samala by a land-routetrader--a Vanjara, called Narapat-and as compared to Dehilla he is depicted a better man. A Vanjara is a well-known and familiar figure in the Gujarati folk-tales. He also appears in several other stories of samala mostly by the proper name Lakha Vanjara. He is a representative of the Vanjara community-a very efficient merchant, very rich, and one who travels from place to place all over the country. He is generally a good man ready to perform benevolent deeds for the people. In Gujarat we find many wells, Vavas', tanks and ponds associated with

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THE POPULAR TALE OF CANDANA-MALAYAGIRI : 231 his name. His is a common rather than a proper' noun. Narapat Vanjara is a character moulded in the same pattern. Malayagiri is not harassed but helped by Narpata Vanjara. This character of a typical Vanjara-mostly by the name of Lakha Vanjara--is also a very interesting subject for the folk-tale study. We find the same romantic character in the well-known stories like Nemivijaya's Silavati-no-ras; Samala's Bhadra Bhamini and MadanaMohani etc. There are other innumerable short episodes which bring out the different facets of this lovable and famous Vanjara's character. One significant point regarding all the versions is that all of them contain a key couplet which can be said to be a sort of the summing up of the story. In the non-Prakrit Versions the trenchant Duha couplet on the adversity of Fate is as follows: " kihAM caMdana, kihAM malayAgiri, kihAM sAyara, kihAM nIra jima jima paDai avatthaDI, tima tima lahai sarIra / " In Gunacandra's story too we find a Gatha with a similar purport. There, Naravikrama, after losing his wife and sons says: kaha niyanayarazcAo? kahettha vAso ? kahiM gayA bhajjA ? kaha puttehi viogo? kaha vA naivegahaNaM ca / --P. 100, parettafet (Devchand Lalbhai Granthamala, No. 75) But the concept, "frei 9767 ? PET REYf?" etc., figures characteristically in many a medieval folk-tales and hence on account of it the "Naravikrama-Candana-Story" can be reasonably suspected of having a folk-tale origin and not an out-right creation of Guna candra. H ___ This finds a support from the fact that the Duha, "kihAM candana? kihAM T ?" appears also in Karmana's Sita-Harana (V. S. 1526-A.D. 1470) with a very slight difference. It also shows that this story might have been very much in vogue amongst the people much before either Karmana or Bhadrasena. In all the versions of the story the small family of four-Candana Malayagiri and their two sons Sayara and Nira--are separated from each other; and they drift apart due to the vagaries of the Fate and the viles of man.

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232 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Similar separation and reunion of near and dear ones due to the evil working of Fate and man is quite familiar to us from numerous medieval tales. Even the Puranic tales of Hariscandra-Taramati and Nala-Damayanti can be easily recalled in this context. From this comparison and citing of parallels and from the persistent popularity of the story over centuries it is quite likely that Gunacandra might not have been its originator. He might have only adapted it from the stream of folk-tales, current in his times, and modified it, especially in its beginning and end, to suit his purpose. mahAkAlI HELGESET 1 VE

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A Brief Survey of Phonetics and Grammar as found in the Bhagavati Sutra J. C. SIKDAR Phonetics : Here an attempt will be made to give a short structure of phonetics with their various changes as found in the language of the Bhagavati-Sutra by furnishing examples in brief. Sonants : (1) An initial p changes into a, i, u, e.g., accha (11-11-428)= sksa, iddhi (3-1-137) = sddhi, isi (9-33-382) = ssi, uu (9-33-383) = stu, usaha (9-33-380) = rsabha. (2) Optionally the initial s becomes ri, e.g. risaha (1-1-7) = rsabha, rayarisi (11-9-417) = rajarsi. (3) a develops for l, e.g., ghaya (11-9-407) = gheta, tana (15-1-551) = trna. (4) i represents r, e.g., kivana (1-9-77) = krpana, giddha (2-1-91) = grddha. (5) u stands for r in the case of some syllables, e.g., pudhavi (2-3-98) = prthivi, muimga (9-33-383) = mrdanga. (6) The vowel changes in the same word, e.g., miu (1-6-53) = madu, kinha (15-1-557) = krsna. (7) The r is changed into u and also in the case of a noun, being the first member of a compound, e.g., mau-oya (1-7-1) = matroja, piu-sukka (1-7-61) = pitrsukra. Vowels : The Dipthongs ai and au. (1) e represents ai, e.g., mehuna

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234 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (2-5-105) = maithuna, ceiya (9-33-383) = caitya, vejja (16-3-572) = vaidya. (2) au changes into o, e.g., osaha (2-5-107) = ausadha, kosambi (12-2-441) = kausambi. Lengthening and shortening of vowels : There are found the occasional lengthening and shortening of vowels. (1) A short vowel for ra + consonant is lengthened as compensation, when a conjunct consonant occurs immediately after it and one of the members is dropped and the remaining member is not doubled, e.g., kaum (2-1-92) = kartum, phasa (1-1-15) = sparsa, vasa (15-1-541) = varsa, vagala (11-9-417) = valkala. (a) Sibilant + ya - pasai (3-1-134) = pasyati. (b) sibilant + ravisasa (8-1-309) = visrasa. (c) sibilant + va - asa (9-33-385) = asva. (d) In place of am before eva there becomes the lengthening of a, e.g., evameva (2-1-91), khippameva (9-33-385), jameva (9-33-385), tameva (9-33-385). Besides these, there are found many cases of the lengthening of short vowels, e.g., in the case of the final vowel of the prefixes, especially of pra, pavayana (9-33-384) - pravacana and in that of the final vowel used in the vocative singular, e.g., Ananda (15-1-547), Goyama (1-1-8). Elevation of vowels : There is found the elevation of vowels in some cases, such as, the first vowel of a prefix, e.g., paliekka (15-1-540) = pratyeka, the final vowel of a prefix, e.g., ahevacca (18-10-647) = adhipatya, and in other cases, e.g., cauramta (1-1-5) = caturanta, caugghamta (9-33-383) = caturghanta. Shortening of vowels : Long vowels are frequently shortened in many words. (1) A vowel is shortened (a) in the case of the accent falling on the following syllables : ayariya (15-1-547) = acarya, pajjava (8-2-323) = paryaya, (b) in that of the stress accent, e.g., suhuma (6-3-337) = suksma, (c) in a case when it comes before a conjunct consonant, e.g., puvva (15-1-539) = purva, gimha (9-33-383) = grisma, majjara (15-1-557) = marjara, kattha (2-1-92) = kastha. (d) in that of all syllables accompanied by a nasal vowel or anusvara, e.g., mamsa (15-1-557) = mamsa. Dropping of initial vowels : There are found several cases of the dropping of vowels in the language of the Bhagavati Sutra, e.g., vahanao (2-1-90) = upanaha, lauya (1-1-19) = alavuka, etc.

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PHONETICS & GRAMMAR AS FOUND IN THE BHAGAVATI SUTRA : 235 Assimilation of vowels : There takes place sometimes the assimilation of the vowels of the neighbouring syllables to one another in certain cases, e.g., usu (7-9-303) = isu, puhutta (1-2-20) = prthaktva, etc. Anusvara : : Anusvara is of common use in the language of the Bhagavati Sutra. Anusvara is frequently added to the adverb after the final vowels, e.g., uppim (1-6-54), uvarillam (1-6-54) and it is also added to the final a in the case of instrumental singular of the masculine and neuter a stems, e.g., tenam, kalenam (1-6-53), etc., and in that of the nominative and accusative plural of the neuter, & in the genitive plural of all stems of masculine and neuter gender and in other cases, e.g., neraiyanam (1-1-10) = nairatikanam. Consonants : (1) Vocalization of sounds : There takes place the vocalization of intervocal consonants. Intervocal consonant ka becomes vocalized and forms ga, e.g., asogavana (1-1-19) = asokavana, agasa (2-10-118) =akasa. (2) Dropping of intervocal consonants : In many cases there is found the tendency of dropping the intervocal weak consonants, e.g., nayare (1-1-4) = nagaram, loe (1-6-53) = lokah, aure (25-7-801) = aturah. (3) But the intervocal ga often remains, e.g., agara (15-1-541), anagara (15-1-541). (4) Intervocal ca and ja are dropped and ya is added as ya sruti in order to make the pronunciation easy, e.g. pavayana (9-33-384) = pravacana, ayariya (15-1-547) = acarya, attaya (9--33-381) = atmaja (5) ta between two vowels remain, e.g., bhavati (14-6-520), viharati (15-1-540), namamsati (15-1-544). (6) Intervocal 'da' remains in most cases, e.g., padesa (2-10-119) = pradesa, vadamanassa (7-2-271). (7) In place of intervocal pa it is dropped and va is added to the udvitta vowel in place of pa, e.g., pava (1-4-40) = papa, uvaniya (11-11-430) = upanita, ahevacca (18-10-647) = adhipatya. (8) Intervocal ya remains often, e.g., piya (9-33-383) = priya, samayiya (2-1-93) = samayika. Change of initial consonant : (1) In the initial syllable the consonant 'ka' especially becomes kha in the word 'khujjahim' (9-33-380) for Skt. kubjaih'. (2) The

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236 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME initial 'pa' appears as pha, while the medial in some cases becomes bha or va through pha, e.g., phanasa (22-3-692) = panasa, kacchabha (7-6-288) = kacchapa, thuva (9-33-383) = stupa. (3) For the medial ga there occurs gha in rare cases of aspiration, e.g., simghadaga (9-33-383)= sringataka. (4) There takes place the aspiration of nasals and semivowels, e.g., nhaviyao (11-11-430) = snapika. (5) Aspiration also appears in other cases in a syllable of the word, e.g., dhuya (12-2-441) = duhita. (6) Sometimes there is found the loss of aspiration, e.g., khambha (11-11-429) = stambha. (7) In a number of cases the palatals occur in place of dentals, e.g., citthai (2-1-93) = tisthati. (8) There is found the transition from ta to da, e. g., padaga (9-33-385) = pataka. (9) Cerebralization is found in many cases, e.g., samvuda (1-1-18) = samvrta, kada (1-3-27) = keta. Assimilation of conjunct consonants : Assimilation takes place as a result of dropping of one of the members of a conjunct consonant and doubling of the remaining consonant, e.g., cakkavatti (1-1-5) = cakravartin, sappa (15-1-547) = sarpa, appa (1-2-21) = alpa, etc. In the case of any consonant of the ta class standing in conjunction with ya there becomes the substitution of the corresponding number of the ca class, e.g., saccam (1-3-30) = satyam, miccha (15-1-544) = mithya, vejja (10-3-30) = vaidya, etc., uvajjhaya (9-33-389) = upadhyaya. Besides these, there are found many instances of doubling of conjunct consonants, e.g., pajjava (8-7-323) = paryaya, payacchitta (25--7-801) = prayascitta, rukkha (8-3-324) = vsksa. Svarabhakti (anaptyxis): Conjunct consonants are simplified by dividing the two members by a partition-vowel, e. g., arihamta (1-1-1) = arhanta, bhaviya (18-9-643) = bhavya, pauma (11-5-7) = padma,,chaumattha (15-1-553) = chadmastha, etc. A tendency is found in the language of the Bhagavati Sutra to introduce a conjunct consonant in place of the original unconjunct consonant, e.g., ekka (1-1-11) = eka, tella (10-6-580) = taila, ujju (8-2-322) (25-3-730) = sju. There occurs also a tendency of dropping the initial syllable of a word (syncope), e.g., ti (15-1-544) = iti, tti. (18-10-647), i (1-3-35), etc. The interchange of syllables in the body of the word (the phenomenon of metathesis) is found in some words, e.g., Vanarasi (15-1-550) = Varanasi.

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PHONETICS & GRAMMAR AS FOUND IN THE BHAGAVATI SUTRA : 237 There occurs the phenomenon of Samprasarana, i.e., 'ya' and 'va' become 'i' and 'u' respectively in the language of this work, e.g., abbhimtara (11-11-428) = abhyantara, pasiniya (9-33-389) = pratyanika, turiyam (15-1-557) = tvaritam, suvina (11-11-428) = svapna. In some places the Varnagama, particularly of ma is found at the beginning of the uttarasabda (last word), e.g., samaiyamaiyaim (9-33-382) = Samaiyikadi. Grammar : Some ideas of the grammatical structure of the language used in the Bhagavati Sutra are given below :-Sandhi : (1) It is found in the canonical work that the single member (i.e. word) in compounds generally remains like the other member in its pure thematic form without sandhi, e.g., Ovasa-vaya-ghana-udahi (1-9-73). Here the vowels a and u stand uncontracted, but similar vowels coming together in compounds form Sandhi, e.g., Jivajiva (2-5-107). (2) In the case of the second member of a compound having i and followed by a double consonant, the final vowel of the first member is generally dropped, e.g., egimdiya (2-1-85) = ekendriya. (3) The vowels i & u of a member in compounds do not form sandhi with dissimilar vowels of the other member, e. g., pagai-uvasamta (1-6-52) = prakrtyupasanta. (4) a+u form sandhi, e.g., Samanovasaga (2-5-107) = sramanopasakas. (5) a or a followed by a long vowel i or u is dropped, e.g., raisara (9-33-385). (6) Sometimes a or a becomes contracted with udvstta vowel i, i oru, u, e.g., ke i (16-4-573), thera (2-5-108). (7) In some cases a standing at the end of the first member of a compound is omitted before a dissimilar udvitta vowel, i.e., at the beginning of the second member, e.g., devaulam (5-7-219), devauyam (1-8-64). (8) na (not) sometimes forms sandhi with the initial vowel of a verb, e.g., natthi (1-3-32), natthesi (15-1-551), nahi (15-1-552). Gender and Number : The gender and number of words which are correlated vary in many cases in their use in this canonical work. (1) The general practice is found to insert an inorganic in the middle of a compound at the end of a word, i.e., an oscillation is partly produced by the rule of the last syllable. Thus the neuter-nouns are used as masculine and they form the nominative singular in e, e.g., udagarayane (15-1-547), utthane, kamme, bale, virie (1-3-34), duvihe

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238 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME uvaoge pannatte (16-7-583), etc. (2) The neuter an becomes masculine in a, e.g., kamme (1-3-34) = karman; it becomes the neuter of a stem, e.g., addha (11-11-424) = adhva which is derived from the stem adhvan. (3) The neutral forms by the similarity of the termination a are made dialectically in the nominative and accusative plurals from the masculine in a, e.g., pasinaim (2-1-90), (4) Neutral plural forms of the masculine are also used in the case of u stem, e.g., heuim (2-1-90). (5) Neutral forms from the feminine are used, e.g., tayapanae (15-1-553), valiyao (8-5-325). (6) The dual number is not used except in the case of the numeral, e.g., duve kavoyasarira (15-1-557). Other grammatical features : (1) A general practice is found in the use of the particle 'o' or 'to' derived from 'ato' as mere expletive, e.g., davvao (1-1-15). (2) The so-called ya sruti used for the division of words and the dropping of ta in the case of the often occurring forms of the third person, singular number and present tense and the past perfect passive show two tendencies of the grammatical rules of the early and later Middle-Indo-Aryan stages of language. Declension: (1) In the third person, singular number nominative akaranta word (i. e. stem in a) terminates in e, e.g., Samane, Mahavire, aigare (1-1-5), and the plural in a or ao, e.g., damdaga (1-2-20), tasa (2-1-9). samjaya (1-2-21), aillao (1-2-21). (2) In the accusative singular it ends in am or im or um, e.g., egam maham navam (1-6-55), Jamalim (9-33-385), usun (1-8-67), and in the plural in z or a or o, e.g.. ammapiyaro (9-33-384), te samanovasae (2-5-110), vahanao (2-1--90) (3) In the singular number of the instrumental case it terminates in ena or enam, e.g., paridahenam (1-1-19) and in the plural in hi or him, e.g., nanamtarehim (1-3-37), asavadarehim (1-6-55). (4) In the dative singular number it ends in ae or atte, e.g., vahae (1-8-68), dukkhattae (1-1-15). (5) In the singular number of the ablative case it terminates in ko, e.g., Rayagihao (2-1-90) and in the plural in himto, e.g., ehimto, (1-7-58), gehehimto (2-5-109). (6) In the singular number of the genitive it ends in ssa and in the plural in ana or nam, e.g., vigayapakkhassa (1-1-8), neraiyanam (1-1-10). (7) In the locative singular it terminates in e or msi or mmi and in the plural in esu or sum, e.g. Kalamase (1-1-19), harade (1-6-55), udagamsi (1-6-54), ekkekkammi (1-1-11), padammi (1-1-11), (plu.) sannivesesu (1-1-10). (8) In the

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PHONETICS & GRAMMAR AS FOUND IN THE BHAGAVATI SUTRA : 239 vocative singular it is a or a or o and in the plural a, etc., e.g., Goyama (1-1-9), Ananda (15-1-547). Feminine forms in a stem : (1) In the third person singular, nominative case, it ends in a e.g., Cellana (1-1-4), Devananda (9-33-380), and in the plural in ao, e.g., lessao (1-2-22). (2) In the accusative singular termination is am, e.g., Devanamdam (mahanim) (9-33-382), and in the plural it is ao, e. g., egamegao bhajjao (11-11-530). (3) In the instrumental singular it ends in ae, e.g., Ajja,Camdanae (9-33-382), and in the plural in ahi or him, e.g., Cilaiyahim (9-33-380). (4) In the dative singular it is ae, e.g., Ajja-Camdanae ajjae (9-33-382). (5) In the ablative singular it terminates in ae and in the plural in ahimto. (6) In the genitive singular it is ae and in the plural it is anam, e.g. (sing.) Devanamdae (9-33-381), (plural) asgapadiyariyanam (11-11-428) (7) In the locative singular it terminates in ae, e. g., Isiparisae (9-33-381) and in the plural asu. (8) The vocative form is a, e.g., Devanamda (9-33-380). The declension of the feminine forms in i or u are almost identical with that of the feminine a with some exception in isolated cases, e.g., Kukkuli (1-6-53) (nom.), Pabhavatie Devie (instrumental) (11-11-428), miyavittie (dative) (1-8-65). As regards pronouns it is not possible to present their complete forms out of the stray references to them in the Bhagavati Sutra. But it is found that in their declension the same general rules of the nouns, masculine, neuter and feminine genders are followed in accordance with their respective genders and numbers in almost all case-endings with some exception, e.g., third person. Se (nom. sing.), te (nom. plu.), tam (accusative sing.), tenam (instrumental sing.), tao (ablative sing.), tassa (genitive sing.), tesim (plu. gen.), tamsi or tammi (locative sing.), tesu (plu.), Fem. Sa (nom. sing.), tao (plu.), etc. First personaham (nom. sing.), amhe (nom. plu.), etc. Second person--tumam (nom. sing.), tujjhe (nom. plu.), or tumhe, etc. Verbs : In the Bhagavati Sutra two classes of verbs have been used : (1) those which end in a, (2) those which end in e. Besides these there are some verbs which terminate in other vowels like tha, ni, etc. Some examples of conjugation are given below:

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240 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME First Person : Third Person: First Person : Present Indicative First Class (i. e. Verbs terminating in a) Plural Singular Vocchami (1-2-25) First Person : Calati (3-3-153) Bhavati (14-6-520) Pasai (3-1-134) Second Class (i. e. Verbs terminating in e) Plural Singular Roemi (2-1-92) Vedemi (1-2-20) Edei (1-2-20) Thavei (9-33-385) Singular Second Person: Vadaha (2-1-92). Palayahi (11-9-417) Third Person: Pasatu (3-2-149) Singular Third Person: Karettha Imperative Perfect Tense Hottha (2-5-107) Janamo (2-1-84) Parivasamti (3-2-142) Bhavamti (16-4-573) Nimdamti (3-1-136) Future Tense The future tense is formed in two ways by adding ssati and hiti to the root respectively. Singular Abhiginhissami (3-1-134) Third Person: Vedissai (1-4-40) Vedemti (7-3-279) Karemti (1-1-9) Uvvattemti (1-1-12) Singular Third Person: Gacchihiti (12-1-96) Plural Sannaveha (7-9-300) First Future Form Plural Karimsu (1-3-28) Ahamsu (1-9-75) Plural Viharissimo (12-1-438) Pabhasissamti (9-7-363) Second Future Form Plural Abhisimcemhimti (15-1-559)

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PHONETICS & GRAMMAR AS FOUND IN THE BHAGAVATI SUTRA : 241 Optative : Hojja (1-5-44), avakkamejja, etc. Causative : Causative is formed by adding suffix ave to the root of the verb e. g., aghavei (8-3-22) (indicative); parivaveha (8-7-337), karaveha (11-1-428) (imperative). Some roots change their final vowels to e and lengthen their initial a, e.g., padeti (16-5-572). Passive voice : It is formed by adding ijje to the root of the verb, e.g., avacijjai (1-10-80). Besides, there are some other forms, e.g., disai (9-33-396), muccai (9-33-386), cijjahti (1-1-12), chijjamti (6-3-233). Participles : Two kinds of participles are used, viz., present and past, the first is formed by adding mane or anta to the root and the second by adding the suffix iya, e.g., (I) dharemane (1-3-28), vemane (1-4-39), jalamta (11-9-417); (II) mae (1-4-40), jae (12-7-457), kade (1-3-27). There are also potential participles formed by adding yavva or iyavva, e.g., neyavvam (1-10-81), vattavvaya (14-8-530), etc. Gerunds or absolutes : They are used in different forms by adding itta or ittinam to the root and by adding ttu to it and also iya or aya is found to form them, e.g., vamdeitta (1-1-19), pasittanam (11-11-428), kattu (2-1-92), nisamma (3-1-134), gahaya (15-1-547). Besides these, there occur some irregular absolutes, being imported from Sanskrit by phonetic changes, e.g., kicca (1-1-19), socca (3-1-134), ahacca (6-10-257), paducca (1-1-4). Infinitives : They are formed by adding the suffix um and ittae, e.g., kaum (2-1-92), citthittae (5-4-199), uvadamsittae (6-10-255). Abstract nouns : They are formed by adding the suffix tta, e.g., devattae. Comparative degree : It is constructed by adding tara, e. g., appatarae (1-2-21). In the superlative there is found 'seyam' (3-1-134). AZE G.J.V. 16

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Ancient Indian Palace Architecture V. S. AGRAWALA TT is necessary to have a clear idea of the palace architecture in ancient India together with its terminology so that the relevant portions of the Harsa-carita and the Kadambari may be properly understood. The material is quite elaborate and consistent with the traditional terms relating to a royal palace. This material occurs at four places in the Harsa-carita, namely (i) description of the elephant Darpasata in which Bana has strongly grafted the terminology of a royal palace; (ii) description of the palace of Harsa when Bana himself was introduced to the king; (iii) description of Rajyasri's marriage inside the palace; and (iv) the illness of Prabhakaravardhana giving details of his apartments. The material in the Kadambari is spread throughout the book. We shall first deal with the evidence of Harsa-carita and then take up that of the Kadambari. The most expansive unit was known as the Skandhavara that contained the Rajakula and the Rajakula included the royal palace known as Dhavalaglha, the white house. Skandhavara was a term of the entire military encampment which included the area for the horse and elephant wings, camel corps, encampments of guest kings and miscellaneous establishments relating to the army. These various portions were assigned special places for them in the vast, extensive area outside the Rajakula. The Rajakula proper was entered through a principal entrance known as Rajadvara. Inside the Rajakula was the palace containing the living

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ANCIENT INDIAN PALACE ARCHITECTURE : 243 apartments of the kings and queens, that was known as DhavalagTha. An attempt is made here to interpret the relative position of the various component parts with the help of the evidence from Banabhatta and from other literary texts. Skandhavara : In chapter II of Harsa-carita (58-60) and chapter V (152-156) we find a description of Skandhavara, Rajakula and Dhavalagrha. Bana had his first meeting with Harsa in the temporary palace built for the king on the bank of the Ajirvati (modern Rapti) in the village named Manitara. The area necessary for the army encampment, Skandhavara, was very extensive. The whole army was settled there. From the point of view of planning the Skandhavara was divided into two portions, firstly the army encampment outside and secondly the royal palace. The outer area of encampment had in the beginning extensive grounds for horses on the one side, and elephants on the other. The area for horses (mandura) also provided for the stables of camels. After this there were camps of kings and other royal guests who came on State business. This area was known as Sivira. Thus this portion of the army encampment looked like a city with its own market and shops to which admission was free and unrestricted for the public. In the fifth chapter it is stated that Harsa, returning from his march, first passed through this Bazar (153). This was called Vipani-vartma and later on in Muslim times known as Urdu Bazar, i.e., the market place of the army hordes. The very extensive area in front of the red fort in old Delhi was once known as Urdu Bazar, which was but a translation of Vipani-vartma. This wide plot of ground accommodated the camps for kings and rulers and feudatories who came to meet the emperor. In this Skandhavara area of Harsa there were ten kinds of encampments. These included kings from many countries, enemy kings and feudatory kings defeated in battles, embassies from many foreign lands, Mleccha races, principal representatives from amongst the people and also religious heads and teachers who specially came to see the king. There was additional open area all of which was known as Ajira (p. 25). Rajakula : At the end of the Skandhavara the Rajakula was situated in a well defended portion. It was also named Rajabhavana, Rajaprasada or 1 Harsa-carita : A Cultural commentary, pp. 37-38.

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244 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Rajamandira; its entrance was known as Rajadvara, and the place was well guarded. There was no restriction against entry in the Skandhavara which was open to all the public but entry into the Rajakula was restricted and strictly controlled. The entrance of the Rajakula was guarded by the Vahya Pratiharas, i.e., chamberlains posted outside or in the palace. The first portion of the Rajadvara on both sides of the entrance consisted of several rooms in one or more storeys known as Dvara Prakostha or Alinda. It is stated that at the time of Rajyasri's marriage goldsmiths were seated in the Alinda portion and working to make golden ornaments (142). The etymology of Alinda (Alim dadati) may be traced to an earthen cup called Ali2 in which some drink or eatable was offered to the guests. The Alinda was named Bahirdvara Prakostha in Gupta Sanskrit (Hindi Barautha). In Paninian Sanskrit the Alinda portion of the house was known as Praghana or Praghana (see Rajakula, Plate 23, in Harsa-carita: A Cultural Commentary). The system of Kaksa : Inside the Rajakula there was a regular scheme of courts (kaksa). The palace of Harsa was planned in three courts. In the Kadambari the palace of Tarapida, father of Candrapida, was divided into seven courts which the prince had had to pass through in order to meet his father. In the Ramayana the palace of Dasaratha is stated to have five courts. The palace of Rama as crown prince (Yuvarajabhavana) had only three courts (Ayodhya., 5.5). In the first court of Harsa's palace on the left side of the Rajadvara was an extensive pavilion (Asthanamandapa) for the royal elephants (ibha-dhisnyagara) in which the king's own elephant Darpasata was kept. On the right side opposite to 2 The word Ali for an earthen cup is still current in the dialect of western Uttar Pradesh. The word is also preserved in Sanskrit Alinjara meaning a very large storage jar. (Alimajarayati Alimjarah = Mahakumbha. Amarakosa, 2.9.31.) These have been found in the excavations at Nalanda, Rajaghata, Kasipura. The reason of such a big jar being named as Alinjara was that when these were made all the available clay was diverted for them and the smaller cups went by default. 3 There is a sutra in Panini, that the Praghana denoted a portion of the house (agaraikdese) (Ref. 3.3.79) which the Kasika equates with Bahyadvara PrakosthaBana also has used Bahirdvaradesa, i. e., a portion of the outer gate.

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ANCIENT INDIAN PALACE ARCHITECTURE: 245 it was the stable (mandura) for the king's own horses who were known as Bhupalavallabhaturanga. Later on such horses for the king's own use began to be called merely as Vallabha. It should be noted that the arrangement for the horse and elephant wings and the army outside in the Skandhavara was a general one but inside the Rajakula in the first floor it was intended to accommodate the horses and the elephants for the king's own use. It is therefore that Bana often refers to the king riding on the royal elephants or horses entering the entrance and crossing the four courts mounting near the big staircase (Mahd-sopana) leading to the hall of public audience. In the second court at the centre was located the Vahyasthana Mandapa, i.e., the hall of public audience also called Sabha from ancient time or Sadas, also known as Asthayika or Sarvosara. In Moghul palace architecture this was known as Darbare-am. In front of it was the extensive first court also called Ajira. Upto this point the king had the privilege to mount his horse or elephant. In order to gain access into the audience hall the king had to dismount at the foot of the staircase. After mounting the steps the entry into the audience hall was obtained. We may understand in the light of the above why Harsa rode on the back of his she-elephant upto the foot of the stairway and dismounting there entered the Asthanamandapa and put his seat on the throne placed there. (Ityevam asasada avasam, mandiradvari ca visarjitarajalokah, pravisya ca avatatara, bahyasthanamandapasthapitam asanam acakrama.) Candrapida took the decision of his military conquest in the Asthanamandapa. In the Kadambari it is described as Sabhamandapa (Kadambari, 111). In the Delhi fort there is an open court in front of the Darbare-am which may be identified as Ajira. At the time of Prabhakaravardhana's illness, his friendly kings and feudatories assembled in the Ajira to express their sympathies (154). When theking used to convene a Darbar or hold assembly or courts of justice it was always in the Darbare-am or Bahyasthanamandapa. After the death of Rajyavardhana, Harsa took counsel with his Senapati Simhanada and Marshal of the Elephants Skandagupta in the Bahyasthanamandapa. At that time there were many kings present in that hall. When Harsa had taken the decision to go on a military expedition for the conquest of the whole earth and had dictated the same to his minister for peace and war (mahasandhivigrahaka) named 4 The Darbare-am has been called Sarvosara Sanskrit Sarvopasara in the language of its time in the Prthivicandra-carita (1421).

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246: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Avanti, he having dismissed the assembly of kings left the Bahyasthanamandapa to go for his mid-day toilet. (Iti krtaniscayas ca muktasthano visarjitarajalokah snanaram bhakanksi sabham atyaksit. 194.) In the Rajakula there were two Asthanamandapas of audience chamber. One was the Bahyasthanamandapa or Darbare-am described above which was placed in the second court of the Rajakula. The other was inside the Rajakula in the Dhavalagrha portion usually at the end of the series of courts wihch was known as Bhuktasthanamandapa corresponding to the Darbare-khas of Moghul times. The distinction between the outer and the inner Asthanamandapas is very clear both in the Harsa-carita and the Kadambari. In the Bhuktasthanamandapa the king used to take rest and enter into discourse or consultation with his selected friends, ministers and inmates of the harem. This he did after taking his meals when he wished to retire and hence the name Bhuktasthanamandapa was justified. This was also known as Pradosasthanamandapa, i.e., the place when the king gave audience in the evening. It is stated that Harsa on the day of his taking the decision about his military conquest did not stop for any length of time in the Pradosasthanamandapa but left it quite soon to go to his retiring room. (Pradosasthane naticiram tasthau. 195.) There used to be a court (Ajira) in front of the Bhuktasthanamandapa with a pavilion in it. We can, therefore, understand the statement that Bana at the time of his first meeting with Harsa after crossing the three courts saw him in the Bhuktasthanamandapa when the king was seated under a pavilion in the court of the hall of private audience. (Dauvarikena upadisyamanavartma samatikramya trini kaksantarani caturthe bhuktasthanamandapasya purastad ajire sthitam. 69.) In the Kadambari the Candala girl carrying the parrot in the cage saw the king in the Bahyasthanamandapa. The elaborate description given by Bana relates to the hall of public audience. After the king had accepted the parrot Vaisampayana from the Candala girl he dismissed the assembly of kings and returned to the inner portion of the palace to fulfil his midday routine and for bath and food, etc. (Visarjitarajalokah ksitipatih asthanamandapad uttasthau. Kadambari, 13.) After the king had finished his toilet and usual routine he retired to the Bhuktasthanamandapa, hall of private audience, where in company of his friends, ministers and queens he listened to the story as recited by the parrot Vaisampayana. The portions included in the first and the second courts of the Rajakula was known as Bahya or the outer one, and hence the chamber

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ANCIENT INDIAN PALACE ARCHITECTURE : 247 lains and attendants moving in this portion were known as Bahyapratihara. Beyond this was the palace proper and the chamberlains and attendants specially appointed to that portion were known as Antarapratihara or Abhyantaraparijana. Bana had given an elaborate description of the Dhavalagiha or the palace situated in the third court. Round the Dhavalagsha there used to be a contingent or other as follows: 1. Gshodyana (The palace garden): It was also known as Bhavanodyana. It contains a number of flowers and flowery plants and trees and green houses or groves covered with creepers. Sited in it were the lotus ponds and the Klilaparvata, named in the Kadambari as Daru-Parvata, which was an artificially improvised hill intended to serve for the pastime of the king and queens. 2. Gsha-Dirghika : In the palace garden and other portions of the palace there was a flowing canal of water known as Gsha-Dirghika which derives its name from its length. In its intermediate stages small fountains and water ponds (Kridavapi) were improvised for lotuses and Hamsas, who were the inmates of the palace, enjoyed themselves. It was also a feature of the palace architecture in Iran in the time of Khusaru Parvez. In his palace such a long canal had been brought from Kohe Bihistuna to supply water to the Kasare Siri which was the name of his palace.5 Vyayama-bhumi : the place for the king's gymnasium. It is stated that king sudraka after dismissing his court went to his Vyayana-bhumi or gymnasium, where he took a course of routine 5 I am indebted for this information to my friend Maulavi Mohd. Asraf, Supdt. of Archaeology in Delhi. This was known as Nahare Bihista, heavenly canal. That such a canal of water existed also in Moghul palaces inside the red fort in Delhi is well known. This feature of palace architecture continued during mediaeval times also. Vidyapati in his Kirtilata has mentioned Krida-saila, Dharagrha, Pramadavana, Puspavatika and also Kstrima-nadi, i. e., an architectural canal of flowing water, which was another name of Bhavana-Dirghika. The reference in Vidyapati's Kirtilata preceded the Moghul palaces by a couple of centuries. This feature of the architecture in royal palaces existed not only in India but also outside. In the palace named Hampton Court of Tudor Henry VIII this was known as Long Water which seems to be so close to the Indian Dirghika.

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248 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME exercises. That the king observed such a routine is also mentioned in the Arthasastra of Kautilya. We learn from Panini's Astadhyayi that the senior wrestlers who gave wrestling training to the king were known as Rajayudhva (3.295). Snana-grha or Dhara-grha : The yantradharaglha and snanabhumi, i.e., the fountain and the swimming pool, formed a contingent part of the Vyayama-bhumi. Ksemendra has named it Nimajjanamandapa in his Lokaprakasa and the Prthivicandra-carita calls it Majanaharam (Sanskrit Majjanag?ha), 14th century. Deva-gyha : Inside the DhavalagTha there used to be a religious shrine with an image of the deity worshipped by the king and other inmates of the palace. It was known as Devagrha, which Ksemendra names as Devarcanamandapa in Lokaprakasa. Toyakarmanta : The place for storage of drinking water, which was placed in charge of an officer named Toyakarmantika, or the Superintendent of water-works. Mahanasa : the royal kitchen. Aharamandapa: The dining hall or the pavilion where the king took his meals. In addition to the above we also find in the Kadambari a reference to Sangitabhavana or the Music Hall (91), Ayudhasala or the armoury (87), Banayogyavasa or the ground for the practice of archery (90), and Adhikaranamandapa or the court of justice (88) which were located in the different portions of the palace. Hemacandra (12th century) speaks of a srama-grha inside the palace in which the king gave himself exercise in wrestling and archery, which corresponds to the Vyayama-bhumi and Banayogyavasa of the Kadambari. Besides the component parts of the palace the main portion was the Dhavala-g?ha also named Suddhanta in which the king and his female inmates resided. Dhavala-grha : The Dhavalag?ha was the palace proper forming the residential quarter. In Hindi it is called Dhaurahara, literally, the White House. The entrance to the Dhavala-gsha, according to Bana, was known as GThavagrahani, in which Grha signified Dhavala-grha and Avagrahani the Dehali or threshold, i. e., the point where strict checking was made by the chamberlains posted for the purpose. The doorkeepers appointed here were much more experienced and trustworthy. In the Ramayana this portion of the palace is named

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ANCIENT INDIAN PALACE ARCHITECTURE : 249 Pravivikta-kaksa (Ayodhya., 16.47), i.e., the secluded court, where Rama along with Sita was given accommodation as prince-regent and where only trustworthy persons were allowed to enter. The chamberlain in charge of this portion has been mentioned in the Ramayana to be an aged person holding a staff in his hand (Vetra-pani) and placed as superintendent over the inmates of the harem (Stryadhyaksa). This is confirmed by the description of Bana. The Dhavalagrha or the palace proper was architecturally formed, planned in two or more storeys. The king and the queen usually lived in the upper stories. Just after entering the Dhavalagrha one found two staircases on right and left leading to the upper floor. Bana has stated that king Prabhakaravardhana at the time of his illness was occupying the upper floor of the palace. It is also said that the chamberlains angrily forbade the noise or the sound produced by treading on the staircase. Harsa went to see his father several times in the upper storey (Ksanamatram ca sthitva pitra punaraharartham adisyamanah dhavalagrhad avatatara. 159) and then came down. There used to be an extensive court in the middle of the Dhavalagrha and round it were series of rooms or the Salas because of which that portion was named Catubsala. The Catubsala was known in Gupta Sanskrit as Samjavana. Bana has used the word Samjavana which formed part of the palace of Prabhakaravardhana (155). Prabhakaravardhana himself was in the upper storey of the palace but servants were assembled on the ground floor in the Catuhsala and sorrowing for the king's illness. It appears that the rooms of the Catubsala portion were used for the king's guest and for storage of clothes (Vastragara) and other objects. In the middle portion of the Catuhsala there used to be a pavilion supported on pillars known as Subithi which was enclosed by triple screens (Triguna Tiraskarani. 155). This was separated from the rooms of the Catuhsala by a pathway alround open to the sky. The Subithi portion was entered into by side entrances (Paksadvara). In the Ajanta painting we may see the kings and queens seated in the Subithi portion enclosed by the triple screens and furnished with sideentrances which helps us to understand this portion of Dhavalagrha (Chief of Aundha, Ajanta, Plate 67.77). The middle portion of the Subithi was like a platform known as Vitardika which was a covered pavilion (178) (see Dhavalagrha, Plate 27, in Harsacarita: A Cultural Commentary). Upper Storey of the Dhavalagrha: In the upper storey of the Dhavalagrha on the front side the central portion was called Pragrivaka

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250 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME and the two side portions were called Saudha and Vasabhavana or Vasagsha. In the Vasagsha was located the sayanagTha or the sleeping chamber. There were wall paintings in the Vasabhavana (127). . Hence this particular room as known was Citrasalika (Hindi : Citrasari). Queen Yasovati used to sleep in Vasabhavana. Harsa also occupied for his nightly rest the Vasabhavana. The Saudha portion was exclusively occupied by the queens. It had an open roof on which queen Yasovati used to enjoy moonlight by putting off her upper garment (127). The central portion was called Pragrivaka because it occupied the griva or neck portion of the palace. In the Arthasastra also in the mention of Pragrivaka in the palace of the princess (Kumarisala) (Arthasastra, 2.31), it is stated that the female guests that had come during the illness of Prabhakaravardhana were accommodated in the Pragrivaka portion which was enclosed by screens on all sides (155). . The Pragrivaka was also known as Mukhasala; corresponding to it the back portion on the upper storey was known as Candrasalika which was a roofed pavilion supported on pillars in which the king and queens enjoyed the moonlight. Queen Yasovati in her stage of pregnancy used to sit in the Candrasalika and enjoyed herself looking at the Salabhanjika figures. The two long verandahs on right and left connecting the Candrasalika and the Pragrivaka were known as Prasadakuksi furnished with ventilators or latticed windows (Vatayana). In them the king enjoyed music and dance (Antahpura-samgita) together with his select friends and guests, and inmates of the palace (Kadambari, 58, Plate 28). Comparative literary differences : The above picture of a royal palace given by Bana may be understood with the help of literary references preceding or following the works of Bana. The Ramayana of Valmiki describes the palace of Dasaratha and of Rama as prince. The palace of Dasaratha has five courts. Rama entered three of them riding in his chariot and then entered the last two on foot (Ayodhya., 17.20). King Dasaratha also occupied the upper storey of his palace like king Prabhakaravardhana. When Rama went to see his father he went up to the upper floor (Prasadam aruroha. Ayodhya., 3.32.32). Similarly Vasistha coming to king Dasaratha ascended to the upper floor (Prasadam adhiruhya. Ayodhya., 5.22). Rama was prince-regent. His palace was separate from that of king Dasaratha but from the point of architecture the two resembled

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ANCIENT INDIAN PALACE ARCHITECTURE : 251 each other very much. Rama's palace consisted of three courts. In Rama's palace Vasistha rode on his chariot upto the third court (Ayodhya., 5.5). In this connection the evidence of Bana is valuable. When prince Candrapida returned from the college where he received his education, a separate palace was provided for him called Yuvaraja-bhavana or Kumara-bhavana. Similarly for a princess a separate palace named Kumari-antahpura was provided. In the palace of Candrapida there were two portions : Sri-mandapa and Sayaniya-glha. Sri-mandapa was the outer portion and Sayaniyg-grha the inner portion of the palace (Kadambari, 96). In the Kumari-antahpura of Kadambari also there was a Sri-mandapa portion (Kadambari, 186). We find that in the Tudor palace named Hampton Court there was a palace for the prince-regent in the same portion but separate from. the main royal palace. This had three portions named Presence Chamber, Drawing Room and Bed Room. Of these the Presence Chamber corresponded to Sri-mandapa of the Indian palaces where the prince received his guests. There was a well furnished seat which was occupied by prince Candrapida (Kadambari, 96). The Sayaniya-glha was the Bed-room in these palaces. In the palace of Rama in the first court there was accommodation for the royal horses and elephants. There were rooms for Rama and Sita in the third court, which was a secluded portion (pravivikta kaksa). In between the first and the third court there was most probably the drawing room of the audience chamber which was usually situated in the second court. It is stated that in the third court old chamberlains holding staff in their hands were appointed. They were known as Stryadhyaksa and devoted young men were appointed as guards holding weapons in their hands (Ayodhya., 16.1). There is a marked resemblance between the palace of Rama and Harsa. The palace of Harsa (Kumara-bhavana) was separate from that of Prabhakaravardhana as was the palace of Rama from that of Dasaratha. When Harsa returned from his hunting expedition he first came to the entrance of Rajakula where the chamberlain bowed to him; and from that point he entered the Dhavalagrha and going upstairs he saw his ailing father, king Prabhakaravardhana. Then he came down from the upper floor of the Dhavalagriha and went to his own palace with an attendant. In the evening time he came again to see his father and mounted up the staircase. He remained there the whole night and again came down the next morning, and although the groom was ready with the horse he preferred to walk on foot to his palace

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252 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (160). This indicates that the palace of Harsa was located outside the entrance of the Rajabhavana or royal palace proper. In the Ramayana there is a detailed description of the palace of Ravana (Sundarakanda, ch. 6-7). The whole area which is described as Alaya, contained the palace (bhavana) of Ravana architecturally planned in several portions (Prasada). These three words correspond to Rajakula, Dhavalagpha and Vasabhavana which were placed one inside the other. Ravana's Mahasala had a staircase. In the extensive palace (Mahanivesana) or Rajakula of Ravana there were several component parts, e.g., LatagTha, Citrasalagrha, Krilaglha, Daruparvataka, Kamagsha, Capasala (armoury), Candrasala (moonlight house), Nisagrha (night chamber), Puspagsha, etc. Several of these features correspond to those in the palace described by Bana. The Candrasala is common to both. The Citrasala of the Ramayana was the same as the Vasabhavana of Harsa, where there was the Bed-Chamber with paintings on the walls and which was therefore justifiably known as Citrasalika. Asvaghosa (1st century A.D.) describes the house of Nanda as Vimana comparing it to Devavimana. That house was divided into spacious courts. Once Buddha arrived at the entrance of Nanda's house, on his begging round. At that time Nanda was seated with his wife Sundari on the upper floor of his house. As soon as Nanda learnt about it he got down and passing through the wide courts ran to meet the Buddha. But the courts were so spacious that it took him a long time to pass through them and therefore he felt agitated as to why they were so expansive.. Asvaghosa has also mentioned that in the upper storey of his palace there were Gavaksa ventilators (4.28). This seems to be evidently a reference to the Prasadakuksi or the two galleries connecting the Pragrivaka in front and the Candrasalika at the back. These galleries were provided with carved latticed works as clearly mentioned by Bana. They were closed with shutters which could be opened to give a clear view of the outside (Vighatitakapataprakatavatayanesu mahaprasadakuksisu. Kadambari, 58). These galleries were utilised for dance and musical performances. In the Padataditakam the large houses of the courtesans are stated to be divided into spacious courts well separated from each other (Asambaddhakaksavibhagani. 1.12). They were well sprinkled with water (Sikta) and cleansed off their dust with air blown through hollow 6 WHICHIEU Tart: sae CHETTI atastvarAvAnahamabhyupeto gRhasya kakSAmahato'bhyasUyan / / (5.8)

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ANCIENT INDIAN PALACE ARCHITECTURE : 253 tubes (Susiraphutkrta). There are many other technical details mentioned about their construction, e.g., Vapra (raised foundations), Nemi (deep foundation), sala (ramparts), Harmya (upper storey), sikhara (spires), Kapota palika (a special moulding with a row of pigeons like motif), Simhakarna (two corners of the Gavaksa raised aloft like the two ears of a lion), Gopanasi (the projecting top above the Gavaksa resembling a long nose of a bull), Valabhi (a small pavilion on the top storey), Attalika (towers of the gateway), Avalokana (a room on the upper storey for looking outside), Pratoli (rooms for connecting the towers of the gateway) (Hindi: pola), Vitanka (a plat. form on the ground floor), Prasada (a palace), etc. Bana also refers in his description of Sthanvisvara to Prasada, Pratoli and Sikhara (142). As in the palace of Prabhakaravardhana there is mention of Vitardi (platform in the Catuhsala of the ground floor), Samjavana (Catuhsala), Vithi in the Padataaitakam. In the description of Vasantasena's house as given in the MTcchakatika we find reference to eight courts (Prakostha) which has same meaning as Kaksa). These traditions of house-building continued with minor changes even during the mediaeval period. We read of these features in the Dvyasraya Kavya of Hemacandra (12th century) and Kirtilata of Vidyapati (14th century) and in the Varnaratnakara of Jyotesyara Thakkura and Psthivicandra-carita (1421) and also find them continued in the Moghul palace of Delhi and Agra. In the Kumarapala-carita, Asthanamandapa is called Sabha or Mandapika. There is mention also of the Grhodyana adjacent to the Dhavalagrha, as shown in the illustration of the Rajakula. The Gehodyana is referred to as Bhavanodyana or Mandirodyana in the Bshatkatha-Sloka-Samgraha of Budhasvamin and was known as Najara-bag, in Muslim times. Hemacandra has given a detailed account of Bhavanodyana located inside the royal palace (Dvyasraya Kavya, 3/145/87). The Bhavanodyana occupied an extensive area between the Asthanamandapa of the second court and the Dhavalagrha proper of the third court. In this palace garden there were many kinds of trees, creepers, flowers of which a full list is given by Hemacandra. There was also a lotus pond and a Kridaparvata, an artificial hillock for royal pastime, with many other contingent buildings and bowers and also an elaborate water fountain. The summer house (Hima-gsha) described by Bana in great detail in the Kadambari also forms part of the palace garden, and continued as Savana Bhado in Mughal times. There are many points of similarity

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254 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME between the descriptions of Bana and Hemacandra. In these a study of the horticultural material in ancient Indian literary texts is a vastly interesting subject. It is stated that queen Yasovati held in high affection the jasmine creeper (Jati-guccha), the pomegranate, the young Bakula, and the mango sappling at the door of the house (Balasahakara) (164-165). In the Kirtilata of Vidyapati the description of the palace includes several motifs of ancient tradition, namely Kancana-kalasa (golden vase on the top of the spire), Pramadavana (female garden), Puspavatika (flower-garden), Kstrimanadi (long canal), Dirghika, Kridasaila (artificial hillock), Dharaglha (water fountain), Yantra-vyajana (mechanical fan), srngarasanketa, Kamagrha (dalliance house), Madhavimandapa (grove of Hiptage creeper), Khatvahindola (swing with a bed stretch), Kusuma-sayya (flower bed), Catuhsamapallava (a small pond of the Catuh sama perfume), Citrasala (a room with paintings). Side by side with this Indian tradition several new terms of Muslim palace architecture had been current which have also been mentioned by Vidyapati, e. g., Khas-darbar (Bhuktasthanamandapa), Dar sadar (Rajadvara), Nimaj-gah (Deva-grha), Khvabgah (Aharamandapa), Shoramagah (Sukha-mandira : a term still applied to a portion of the Amira palace, same as Ranga Mahala of a Moghul palace). In the Psthivicandra-carita also (18th century) several component parts of the palace have been mentioned, e. g., ventilators (Anekagavaksa), platforms (Vedika), thrones (Caukis), painted hall (Citrasali), latticed works (Jali), three stupikas on the top (Trikalasam), palace with a Torana (ToranadhavalagTha), under-ground cellar (Bhumi-gpha), store-house (Bhandagara), granary (Kosthagara), armshouse (Sastragara), fortress (Gadha), hostel (Matha), temple (Mandira) basement (Padavan), throne room (Patasala) basement, the staff above the spire (Dandakalasa), the fluted stone on the top (Amalasara), flag (Ancali), bunting (Bandanavara), five-coloured banner (Pancavarnapataka), hall of public audience (Sarvopasara), hall of special audience (Mantrosara), Bathroom (Manjanahara = Manjana-gTha), seven courts (Sapta dvarantara), city gate (Pratoli), forecourt (Rajangana), horsemarket (Ghodahadi), court (Rangamandapa), main pavilion (Sabhamandapa) -PTthivicandra-carita, pp. 131-32. In this list there are several terms mentioned by Bana. Gavaksa, Vedika, Citrasali, Torana-dhavalagsha, Sabhamandapa and Pratoli were the older terms. Manjanagsha, Sarvosara, Mantrosara and Rayangana were new terms but with older meaning which had become current in Bana's time.

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ANCIENT INDIAN PALACE ARCHITECTURE : 255 It is necessary to have a clear picture of the mediaeval literary description and surviving monuments in order to understand the description of palace architecture given by Bana in the Harsacarita and the Kadambari. The need for different component parts of palaces remain more or less the same leading to an identical planning to the component parts of the royal palaces, and this is the reason why there was so much similarity between the ancient Hindu palaces and the mediaeval Mughal palaces. If we look carefully to the palaces of Akbar, Jehangir and Shahjahan, the Mughal forts of Delhi and Agra, we may discover the meaning of Bana's description in several respects. The apparent reason is that the Mughals had inherited the older building traditions which they adopted in their palaces and at the same time introduced several features of their own. We may tabulate these common features between the palaces of Bana's time, the Mughal palaces and also the Tudor palace, named Hampton Court. It is not at all our intention to suggest that any one of them knew or copied the other, but the striking resemblance proves that the basis of their architectural planning was to cater to common needs. This comparative chart does render one service essential to our purpose, namely that it brings us to understand the evidence of Bana in a more clear and consistent manner. Bana's palace Mughal palaces Hampton Court (7th cent.) in old Delhi palace (16-17) 1 The Skandhavara The extensive open encampment in ground in front of the front of the Rajakula Red fort known as Urdu or palace, and the bazar.? market place in its Vipani-marga. The Moat and the The ditch & high wall Moat & bridge. Rampart (Parikha) of the red fort. (Prakara). 3 Entrance to the Sadar-darvaja, the main The Great Gate palace (Rajadvara). entrance to the palace House. 7 Urdu was the word of a Turkish language meaning army. Later on denoting an army encampment. Hindi Vardi (literary uniform) and English Horde are derived from it.

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256 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Bana's palace (7th cent.) Mughal palaces in old Delhi Hampton Court palace (16-17) Barracks and Porter's Lodge, in the Entrance. 4 Contingent of rooms and towers of the gateway (Alinda, or Bahyadvara prakostha). 5 First court (Pra- Open Court. thama Kaksa) where the royal elephant and royal stables were kept. 6 The Hall of public audience (Bahya sthanamandapa) with the grand staircase (Mahasopana) and the forecourt (Ajira). 7 The staircase leading from the Forecourt into the (Ajira) Audience Hall (Asthana-Mandapa). 8 King's throne in the Asthana-Mandapa. 9 Inner court (Abhyantarakaksa). 11 Grhodyana (Palace (Palace Garden), Pond (Krida-vapi) Lotus pond (Kamalavana). Rows of rooms inside the Sadar-darvaja where now shops are accommodated. and Dewane-am and the open space in front of it. 10 Dhavala-grha (inner Inner palace. palace). The staircase in front of the Dewane-am. The royal throne in the Dewane-am. Nazar bagh and pond. 12 Royal canal (Grha Nahar-e-bahiste. dirghika). Base Court. Great Hall-Court. Hall and Grand staircase. King's staircase. Clock Court. Principal Floor. its Privy Garden, Pond Garden, (Vinery, Orangery etc.) Long canal, "Long water".

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ANCIENT INDIAN PALACE ARCHITECTURE : 257 Bana's palace Mughal palaces Hampton Court (7th cent.) in old Delhi palace (16-17) 13 Bath (Snana-glha), Hammam, Houze and Bathing Closet, Fountain (Yantra- Phavvare. King's Kitchen, dhara), Bath tub Banqueting Hall, (Snana-droni), Private Dining Kitchen (Mahanasa), Room. Dining Hall (Aharamandapa). 14 Temple (Devagrha). Masjid or Namaj-gah. Royal Chapel 15 Catuhsala. Cellars on the ground floor. 16 Corridors (Bithi). Khurramgah. Galleries. 17 Hall of private aud- Darbare-khas. Audience Chamber. ience (Bhuktastha namandapa). 18 Pragrivaka, Gavaksa Musemmam Burja Queen's Gallery. front room with (Suhag-mandir). Great watching latticed work. Chamber. 19 Mirror House (Dar- Sisa-mahala. The pana-Bhavana). Adarsa bhavana is also mentioned in Tilakamanjari (11th century). 20 Sayana-grha, Vasa- Personal Chambers for King's Drawing grha (Citra-salika), kings and queens. Room, Queen's Saudha, Hathi-data Khvabgah with paint- Drawing Room, and Mulctasaila ings on wall and roof. King's Bed Room, (white stone). The Queen's Bed Room Particular Room made of ivory and marble or agate (Muktasaila); sometimes it was made of carved ivory and inset with diamonds and therefore called Vajramandira. 21 Music-hall (San gitagrha). G.J.V. 17

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258 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Mughal palaces in old Delhi Hampton Court palace (16-17) Bana's palace (7th cent.) 22 Moon-light pavilion (Candra-sala). 23 Palace galleries (Prasadakuksis). Presence Chambers. 24 Chamberlain's Khwajasar. court (Pratiharagsha). Lord Chamberlain's Court, where he and his officials had their lodgings. This list indicates that the architecture of the palace described by Bana had come from earlier times and continued even after him. Actually many other items of palace life and routine in the Indian palaces of the 7th century were borrowed from earlier time, e.g., attendants, chamberlains, amusements, performances etc. This was the outcome of the natural historical process. The picture painted by Bana has to be given greater relief. It is expected that a study of the palaces built in the time of Uttaravarti Gurjara and Pratihara kings, Pala, Paramara, Calukya, Yadava, Kakati, Ganga, Vijayanagaravamsi kings and also of the later Mughal emperors will fill the picture of Bana which will throw light on the details and evolution of Indian palace architecture. The Hampton Court Palace was built by Cardinal Woolsey in 1514 and made over to the Emperor Henry VIII in 1529 and the latter completed it in 1540. It represents the architecture of the early 16th century. It was restored after a century and a half in 1680 in the time of William the Third and Queen Anne. In the 17th century also in the time of Shahjahan the old palaces were retouched with marble structures. We find several points of similarity between the palaces in Delhi and Hampton Court. There did not exist any historical connection between these three classes of palaces but the common needs of royal life brought about an internal identity in their planning. The Rashtrapati Bhavana at New Delhi has the following planning : Central Vista upto India Gate (Skandhavara), Secretariat (Adhikaranamandapa), Main Gate (Rajadvara), Fore Court (Bahyakaksa), Grand stair-case (Prasadasopana), Darbar Hall (Bahyasthana

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ANCIENT INDIAN PALACE ARCHITECTURE : 259 mandapa), Military Secretary's Wing (Pratiharabhavana), Audience Room (Bhuktasthanamandapa), Banqueting Room (Aharamandapa), Ball Room (Prasadakuksi for Antahpura-sangita), Mughal Garden (Grhodyana), Flowers area (Kamalavana), Pond (Kridavapi), Fountain and Long Canal (Dirghika).

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Mala Devi Temple At Gyaraspur KRISHNA DEVA This temple, picturesquely perched on the slope of a hill, is a tower1 ing landmark at Gyaraspur which is a place of considerable archaeological interest, situated 24 miles north-east of the district town of Vidisha in Madhya Pradesh. Partly rock-cut and partly structural, this temple stands on a large terrace cut out of the hill-side and strengthened by a massive retaining wall. The temple faces east and is a sandhara prasada consisting of an ardha-mandapa (entrance porch), mandapa, antarala and a sanctum with an ambulatory. The sanctum is crowned by a lofty sikhara of the curvilinear form, capped by an amalaka and kalasa. EXTERIOR The exterior of the temple is exquisitely carved with figures and designs in relief. The larger niches, crowned by elaborate udgamas or pediments of caitya-arches; the smaller niches, surmounted by tall pediments decorated with a mesh of caitya-gavaksas; and the projecting balconies which are also crowned by a pediment of caitya-arches, form the most conspicuous ornamentation of the elevation. Added to this are the interesting panels of figure reliefs, scrolls and other decorative designs occurring on the basement mouldings. The basement shows the usual mouldings of khura, khumbha, kalasa, occasionally relieved with interesting faces (usually carried on two

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MALA DEVI TEMPLE AT GYARASPUR: 261 adjacent angles) and scrolls in relief, antara-patra, kapotali carved with. caitya-arches in relief, chadya moulding containing repeat pattern of miniature shrines, and jangha, containing occasional niches with figure sculptures. From the basement mouldings project six niches on the southern side and two on the front or eastern side. Each niche is crowned by a pediment of caitya-gavaksas, those occurring below the asanapatta of the balconies with the kaksasanas being more elaborate than others. The balconies have the usual components, but are mainly decorative. Their jalaka-windows admit extremely insufficient light and do not serve an effective functional purpose. The figures carved on the niches of the facades comprise Dikpalas and Jaina Yaksas and Yaksis, while the relief panels show human faces and scrolls. Most of the decoration of the elevation consists of architectural motifs like the caitya-gavaksa and miniature shrine and this is one of the rare temples where such motifs have been used with. great decorative effect. There are in all six projections in the southern facade, three larger and three smaller, all being embellished with niches. The sikhara (Fig. 1) is of the pancaratha type but it has neither the elegant proportions nor the soaring character of the Khajuraho temples and is rather squat with a marked triangular appearance. It is navandaka, i. e., clustered by eight minor sikharas and is somewhat similar in design to the sikhara of the Siva temple at Kerakot in Kutch. It is marked by six bhumi-amalakas and is decorated with a mesh of caitya-gavaksas. The sukandsika is only partly preserved and has lost the crowning figure of lion. The pyramidal roofs of the antarala, mandapa and ardha-mandapa together with a large portion of the internal ceilings are also badly damaged. But from what has survived there is no doubt that the roof of the mandapa consisted of pidhas decorated with caitya-gavaksas, alternating alternating with recessed courses, carved with ratna-patta. South facade This is (Fig. 2) the best preserved and gives an idea of the original design. This had three balconies and each balcony had a niche. on the basement. The niches on the two eastern balconies are more elaborate with ornate pediments, while the niche on the balcony of the sanctum is rather shallow. The buttresses flanking the balconyprojections have a vertical row of two niches, one on the jangha and the

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262 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME other on the basement at the same level with the niches below the balconies. The pilasters of these niches are decorated with scrolls, kirttimukhas and vase-and-foliage designs. Some of the pediments of the niches were surmounted by lions seated on haunches. Balconies In the balcony-projections the vedika-moulding shows two rows of miniature shrines alternating with chess-design. The asanapatta is decorated with scrolls and is surmounted by a frieze of lotus petals. The kaksasana has slabs of lotus scrolls alternating with three vertical shafts relieved with bead-design. The lintel and the architrave of the balcony-projections are decorated with chess-pattern. The surmounting frieze which serves as chadya moulding is decorated with half-faces of kirttimukhas showing ears and in some cases horns. Roof-niches Between the two eastern balcony-projections of the south facade the last course of the roof shows a niche containing an image of eight-armed Cakresvari seated on garuna. The goddess carries pasa, indistinct object, indistinct object, and vajra in the right hands; and vajra, indistinct object, cakra and broken in the left hands. This figure is flanked on each side by a female attendant. In the proper left niche occurs a seated Jina, while in the right niche occurs Ambika Yaksi, seated in lalitasana and carrying a child. On the corresponding north side the roof niches show Cakresvari Yaksi, flanked by female attendants which are now defaced. On the proper right occurs a seated Jina, while on the left occurs AmbikaYaksi seated in lalitasana. This is an exact replica of what we have on the south face. A little above this niche we have a seated Tirthankara in a niche flanked by attendants in the side niches. Outer niches The outer niches are now described from the south-east in the order of pradaksina : East face : Niche I on the south-east corner of the jangha shows an eightarmed goddess seated in lalitasana on a lotus, below is represented a bird mount with two heads, one regardant and the other looking down. 1 The attributes are reckoned clock-wise starting from the lower right hand.

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MALA DEVI TEMPLE AT GYARASPUR : 263 The right hands of the goddess hold a tapering object which may be a gada, broken, lotus flower and cauri, while the left hands carry cauri, flag, broken and bow. Is she Padmayati Yaksi riding kukkutahi ? South face : Niche II on the jangha shows a four-armed goddess seated in lalitasana on a lotus, carrying sword, cakra, shield, and sankha. Elephant mount is depicted below the lotus-seat. Is she Purusadatta, the yaksi of the fifth Tirthankara ? All the six principal niches (Niches III-VIII) on the south facade are empty. But there were minor niches in the deep recesses, flanking the bhadras (main projections) of the sanctum on each side. These invariably show representations of Dharanendra Yaksa (Fig. 3) and Padmavati Yaksi. The niche on the eastern recess of the bhadra on the south side contains an image of standing Dharanendra Yaksa which corresponds with the Padmavati Yaksi on the north face in an identical position. This yaksa is two-armed and carries an indefinite object in the right hand and water-vessel in the left. The adjoining lateral faces of the recess also show figures in miniature niches. The western miniature niche shows an image of a goddess seated in lalitasana on a crocodile, carrying varada, abhaya, nilotpala and water-vessel, while the niche on the eastern face shows an eight-armed goddess seated in lalitasana on a lotus, carrying sword, garland, indistinct object and indistinct object in the right hands, and bell, shield, net-like object, and broken in the left hands. A horse is depicted below the lotus-seat. The latter goddess may represent Manovega, the yaksi of the sixth Tirthankara. .: The niche on the western recess of the same southern bhadra shows two-armed Padmavati Yaksi standing under a canopy of serpenthoods. The miniature niches on the adjacent lateral faces also show each an image of a goddess seated in lalitasana. West face : Niche IX on the west face is empty, while western niches X-XI like the northern niches XII-XIII, were never built, as the north-west corner of the temple consisted of the rocky ledge of the hill. Thus in the west face there is only one recess of the bhadra with a niche. It shows an image of two-armed Padmavati Yaksi standing under a canopy of serpent-hoods, carrying nilotpala in the right hand, with the left hand resting over a staff. This figure appears to be painted, as red ochre paint is found sticking to the serpent hood.

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264 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME In the adjoining miniature niche, which is really the lateral niche of the western bhadra we have an image of a four-armed goddess seated in lalitasana on a lotus which rests over a crocodile. She holds flower in the lower right hand, upper right hand placed on the simanta, the upper left carrying mirror and lower left kept over her lap. North face : The first two northern niches, viz. niches XII-XIII were never built. The eastern recess of the northern bhadra, however, shows an image of two-armed Padmavati Yaksi standing under a canopy of serpent-hoods. Niche XIV on the north projection of the antarala shows a standing image of two-armed Kubera, carrying skull-cup and purse, the latter placed on two jars, representing nidhis. The purse is decorated with floral pattern disposed in vertical registers. The god has an oval halo resembling a spoked wheel and wears crown, kundalas, torque, upavita, keyuras, long mala, wristlets and anklets. Ram mount is shown on the proper right. The god is flanked on the proper right by a standing couple and on the left by a male cauri-bearer. In the niche below niche XIV occurs a four-armed standing goddess, carrying abhaya, lotus flower, nilotpala, and probably mirror held upside down. She wears crown, kundalas, torque, hara, wristlets, under-garment fastened by belt with jewelled loops and tassels and anklets. Niche XV below the north balcony of the mahamandapa shows an image of a twelve-armed goddess seated in lalitasana. The right hands carry sword, mirror, indefinite object, flower, cakra and vajra; while of the left hands three are broken and two carry lotus flowers and one carries a fruit. The goddess wears a flattened head-dress with the catula-mani ornament on the simanta, two types of kundalas, torque, hara, keyuras, wristlets, under-garment fastened by belt with jewelled loops and tassels and anklets. A defaced animal partly resembling a boar is depicted below the lotus seat of the goddess, which is wellpreserved with a handsome face. Niche XVI on the north projection of the mandapa shows a two-armed image of Indra seated in lalitasana over his elephant mount. He has an oval halo carved with lotus petals and wears a cylindrical crown (kirita-mukuta), kundalas, torque, upavita, keyuras, wristlets, and

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Fig. 1. South Facade of sikhara, Maladevi Temple, Gyaraspur

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GAGO Fig. 2. Decoration of the South Facade, Maladevi Temple, Gyaraspur 38509 Fig. 3. Decoration of the South Facade, Maladevi Temple, Gyaraspur

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SEER Fig. 4. Ardhamandapa (Entrance porch), Maladevi Temple, Gyaraspur KOP

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Fig. 5. Ceiling and Architraves of the Mahamandapa, Maladevi Temple, Gyaraspur Fig. 6. A Pillar of the Mahamandapa, Maladevi Temple, Gyaraspur

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** MALA DEVI TEMPLE AT GYARASPUR : 265 anklets. The right foot of the god is placed on a lotus flower which rests on a jar. He carries vajra in the left hand of which faint traces have survived, while his right hand is broken with the attribute. Below niche XVI on the basement occurs a niche containing an image of a twelve-armed goddess seated in lalitasana on a wheeled ironcart (lohasana). Her right hands hold broken abhaya, trisula, cakra and padma with a handle like stalk, while her left hands carry parasu, sankcha, shield, bow, indistinct object which may be a toilet box, and fruit. The goddess wears a dhammilla-shaped head-dress with a mani on the simanta, kundalas, torque, wristlets, undergarment fastened by belt with jewelled loops and anklets. A seated devotee carrying offerings is depicted below the seat. From the lohasana the goddess may be identified as Ajita or Rohini, the yaksi of the second Tirthankara. In niche XVII, occurring below the north-eastern balcony, is represented a four-armed goddess seated in lalitasana on a lotus. The head and hands are broken. Niche XVIII or the last niche on the eastern end of the north face contains a four-armed goddess seated in lalitasana over a fish. She holds varada, abhaya, net and indistinct object. She may be identified with Kandarpa, the Svetambara Yaksi of the fifteenth Tirthankara who is the only goddess represented in the Jaina pantheon with the fish mount. East face : Niche XIX on the north-east corner of each face of the jangha shows consort of Revanta seated in lalitasana. She is four-armed and carries vajra, standard surmounted by human being the head of which is broken, net-like object and umbrella. A horse is depicted below the seat. A flying vidyadhara is shown over the head of the figure. INTERIOR The entrance porch or the ardha-mandapa (Fig. 4) is supported on four pillars. The ceiling is rectangular with a lenticular compartment of cusped and coffered design of the sama-ksipta variety. There is a similar ceiling between the two inner or western pillars of the ardha-mandapa and the door-way of the mandapa. Mandapa-doorway The mandapa is entered through a large and elaborate doorway. It is of the pancasakha variety, the sakhas containing respectively

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266 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME designs of scrolls, nagas in anjali-mudra, mithunas and two pilasters containing scrolls of different designs, the inner one being stencilled and the outer one in relief. The mithunas alternate with bhutas or pasa-like design. The lalata-bimba shows an image of Cakresvari riding on Garuda. She is eight-armed and holds spiral lotus-stalk in the lower right hand, the objects in the other right hands being indistinct. In three of her left hands she holds lotus, cakra and ball-like object which may represent a fruit. The door-jambs show at the base figures of Ganga on the left and Yamuna on the right, each river-goddess being flanked by attendants and two dvarapalas wearing kiritamukuta. While two of the dvarapalas face east, the remaining two are placed, juxtaposed to each other in the passage of the doorway. Ganga is flanked by a female umbrella-bearer and a dwarf female carrying a net suspended from the right hand. Above the head of the umbrella-bearer on a lotus-stalk pedestal are seen miniature figures comprising a seated god flanked on each side by a seated attendant and a standing cauri-bearer. This group is flanked on each side by a vidyadhara seated on lotus leaves issuing from the same stalk. Yamuna is also flanked by a female figure carrying a large round ornamental gada and a dwarf female carrying a net in her left hand. Above the head of the female gada-bearer occurs on a lotus pedestal a similar group of five figures, the central figure being a sage seated in padmasana with the right hand in the vyakhyana mudra. Above this group occurs a group of vidyadhara figures carrying flute, vina, drums and garlands and seated on lotus leaves issuing from the same stalk. The door-sill is carved centrally with lotus-stalks entwining dwarf ganas, and is also embellished with crocodiles and elephants, symbolising Dig-gajas. On the extreme ends occur a couple of devotees flanked by lions. Mandapa The mandapa is centrally supported on 'four pillars. Its ceiling (Fig. 5) is octagonal and probably of the sama-ksipta variety, consisting of four diminishing courses of gajatalus of which only the fringes have survived. The lintels and the architraves of the mandaca ceiling are decorated with two rows of miniature shrines, which are repeated on the architraves of the ardha-mandapa and antarala where they alternate with chess-pattern. The inner walls of the mandapa are bare, except for two purely decorative blind windows. Against the southern wall of the mandapa has been placed centrally a colossal standing image of Jina flanked by two seated male devotees,

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MALA DEVI TEMPLE AT GYARASPUR : 267 Pillars All the pillars of the interior are alike in shape and design and show a heavy square pedestal, with a male or female (sometimes semi-divine) figure in a miniature niche on each side, represented as dancing or carrying umbrella or musical instruments. These miniature niches are framed by pilasters and crowned by a small pediment of caitya-gavaksas. The shaft of the pillar (Fig. 6) is square at the lower and upper sections, decorated with boldly executed pot-and-foliage pattern, while the middle section is sixteen-sided fluted and is ornamented on all or some facets with chain-and-bell design suspended from a grasa-patti or horizontal band of kirttimukhas. The pillar capital has several based elements comprising (1) a flattened circular cushion with projections for keeping lamps, or supporting bracket figures, (2) a square abacus decorated with kirttimukha and scrolls, (3) an amalakashaped member, (4) an upper abacus, also square, decorated with foliage in relief, and (5-6) two square diminishing cushions of the ribbed pattern. The pillar capitals are surmounted by brackets of curved profile, decorated with nigas and nagis in anjali, issuing from both outer and inner corners. Antarala The roof of the antarala is supported on two pillars of the same design as described above. The narrow ceiling between pillars of the mandapa and the pillars of the antarala is samatala and rectangular, decorated with small square panels in two rows showing flying vidyadhara couples. The ceiling of the antarala is similar in design to that of the vestibule of the mandapa. Sanctum doorway The sanctum is entered through a large and elaborate doorway which resembles in general appearance the doorway of the mandapa. Its lintel, however, is defaced, save a portion in the right hand corner. The two crowning architraves are also worn-out, but the lower one shows a row of nine standing Jina figures in niches of which the middle one is completely mutilated. The doorway is of the pascasakha variety and shows scrolls, nagas in anjali-mudra, mithunas alternating with bhutas and pasa-design, scrolls and lastly a meandering pattern of creepers, entwining various scenes. The meandering pattern is missing on the proper right jamb. On the proper left jamb it shows from below (1) an acrobat riding a lion, (2) vidyadhara couple, the males holding sword, (3) a group of three devotees, (4) suparnas carrying lotus stalk,

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268 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (5) a bird couple, (6) an elephant, (7) a naga couple, (8) acrobat riding a lion, (9) a human couple, and (10) indistinct. The right extremity of the lintel shows mithunas bearing garlands and standing four-armed Vidyadevi holding varada, book, book and water-vessel. On the corresponding left extremity we find a defaced image of four-armed standing Sarasvati carrying vina. On the door-jambs occur Ganga and Yamuna, each flanked by a pair of dvarapalas, as on the doorway of the mandapa. The dvarapalas, facing east, carry gada in one of their hands. Sanctum There are only three central pillars inside the sanctum, the fourth being not needed, as the low rock-ceiling is securely supported in the north-west on the walls of the sanctum. The pilasters are quite plain. More than three-fourth of the ceiling of the sanctum is rock-cut, which is further supported by pillars and lintels. Inside the sanctum the main deity now enshrined is a seated mediaeval image of Jina placed on a high pedestal. Loose images of one seated and three standing mediaeval Jinas are also kept in the sanctum. Inner ambulatory The inner ambulatory is entered on each side by a doorway decorated on the lintels and architraves with miniature shrines and figures. The southern doorway of the ambulatory shows on the lalata-bimba of its lintel a flying figure of vidyadhara (can he represent Garuda, the vahana of Cakresvari ?) with folded hands. The architrave surmounting the lintel is elaborate and shows three registers, the lower showing nine standing figures of which seven are Jinas and two female devotees. The middle register shows four Tirthankaras and the uppermost seven Tirthankaras. The door-jambs show river-goddesses flanked by dvarapalas and surmounted by kneeling nagas. The northern doorway of the ambulatory is similar to the southern one but has some differences. The lintel shows the Seven Mothers represented as dancing, flanked by Ganesa on the proper left and Virabhadra on the right. Starting from the left end we have Ganesa, Camunda, Indrani, Varahi, Vaisnavi, Kaumari, Mahesvari, Brahmani and Virabhadra. The inner ambulatory has three major niches on each side, there being an additional niche for the antarala on the north and south. The central or main niche on each side is larger and is flanked by two

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MALA DEVI TEMPLE AT GYARASPUR : 269 minor niches, there being thus a total of six niches on the north and south. Each major niche also has a niche on the basement mouldings. The main niche on the south shows a seated Tirthankara. The main niche on the north is missing but one of the major niches shows Cakresvari Yaksi. CONCLUSION The mature decorative and architectectural motifs combined with the fairly developed iconography of this temple would indicate a late ninth century date for this building which marks the culmination of the Pratihara architectural style of central India. Like the Bajra Math of Gyaraspur, this temple was hitherto supposed to have been originally a Brahmanical temple, later appropriated for Jaina worship. It was erroneously believed that the loose Jaina images, of which there is a plethora in this temple, were all planted here, as in the Bajra Math. Even if the testimony of the loose Jaina images be discounted, the overwhelming evidence of the builtin images outlined below, leaves no doubt that it was a Jaina temple : (1) Except for a frieze showing Ganesa, Virabhadra, and the Seven Mothers occurring in the interior, there is a complete absence of purely Brahmanical deities. There are reasons to believe that Ganesa and the Seven Mothers had lost their exclusive sectarian character in the mediaeval period. (2) Jinas are prominently represented on the architraves of the doorways of the sanctum and the inner ambulatory. (3) Yaksi Cakresvari occurs conspicuously on the lalata-bimba of the mandapa doorway. This is extremely significant. (4) Cakresvari-and-Ambika Yaksis and seated Jina figures occur in niches on the roof-pediments of the mandapa in the north as well as in the south faces. (5) The built-in niches in the deep recesses flanking the bhadras of the sanctum facade invariably show representations of Dharanendra Yaksa and Padmavati Yaksi. < O 25 * 09 :

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Fragments of the earliest Eastern Prakrit Grammarians* (sakalya, Mandavya, Kohala and Kapila) DR. SATYA RANJAN BANERJEE AT the top of the Eastern School mention may be made of Sakalya, Mandavya, Kohala and Kapila, the earliest reference to whom as Prakrit grammarians is found in the works of Purusottamal, Ramatarkavagiaal and Markandeyal, who occasionally adopt their views in their treatises of Prakrit grammar. Markandeya, while referring, with warm admiration, to his predecessors on whom he depended mentions not only sakalya and Kohala but also Bhara, Vararuci, Bhamaha and Vasantaraja in the preamble of his grammar PrakstaSarvasva.2 Mandavya is mentioned only by Ramatarkavagisa. Kapila is referred to by both Ramasarma and Markandeya. As all these authors belong to the eastern school, it is, therefore, possible to surmise * Paper Read at the 22nd session of the All India Oriental Conference, 1960. 1 For all these references, vide Appendix. Sakalya - Bharata - Kohala - Vararuci - Bhamaha - Vasantarajadyaih/ proktan granthan nanalaksyani ca nipunam alokya// avyakirnam visadam saram svalpaksara-grathitapadyam/Markandeya-kavindrah Prakrta-sarvasvam arabhate//

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FRAGMENTS OF EARLIEST EASTERN PRAKRIT GRAMMARIANS : 271 that Sakalya, Mandavya, Kohala and Kapila may have also belonged to this school, or their views were accepted by the easterners. We do not know anything of Sakalya, Mandavya, Kohala and Kapila as the authors of Prakrit grammar, nor do we know any Prakrit grammar, still extant, under their names. However, their views, culled out from the text of Purusottama, Ramatarkavagisa and Markandeya with regard to some of the forms of Prakrit accepted and supported by them, are given below. 7.1. Formative Suffixes: (a) Consonantal feminine word is formed with i (Sa. 10) only; otherwise, with i or a, e.g., manini, manamsini, but sohana and sohani. (b) "matup" is formed with ha (Sas & Ma? 2); otherwise, alla or ella; e. g., ekkaho, but ekkallo, ekkello; puttaho, but puttallo, puttello. (c) In the past participle ("kta"), in the infinitive ("tum") and in the indeclinable participle ("ktva") e or i is added (Sa & Ma 5). (No example is given.) 2. Declension of the Second Personal Pronoun. (a) Accusative plural-tumbhe (Sa & Ma 4), otherwise, tujjhe, tumhe. (b) Locative plural.tumbhesu (m), tujjhesu (m) and tumhesu (m) (sa 11) 3. Future. It is formed with instead of hi; (Sa 1). (No example is given.) 4. Gerund: Ktva is formed with tu, tum (or tumam) ($a & Ma 3). (No example is given.) 5. Verbal substitute: (sa 6 & 7) Skt. V tvar > Pkt. tuvara-i. , V bhid > ,, bhinda-i, chid > chinda-i. 6. Sauraseni. Two verbal substitutes of this dialect are given. Skt. V bhu thau. ho (Sa 9.& 12). >> V grah , gahi (not genha) (Kay 14 & 15) in tavy a and kta. 7. Magadhi. Magadhi is spoken by demons (raksasas), by religious mendicants (bhiksu), by the Jainas (Ksapanaka) and by the menials (ceti) (K03 13). 3 Here sa, Ma, ko & Ka stand for Sakalya, Mandavya, Kohala and Kapila respectively; and the number after them refers to the text, for which, vide Appendix A.

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272 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Appendix A. [Views of Sakalya, Mandavya, Kohala and Kapila as collected from the texts of Purusottama, Ramatarkavagisa and Markandeya with their English Translation] Purusottama on Sakalya. 1. Dhatorbhavisyati hih// VI. 13. ssasca Sakalyasya // VI. 14. Eng. Tr. According to Sakalya ssa is used in the future tense, while generally hi will come before the terminations. Ramatarkavagasa' on Sakalya and Mandavya and Kapila. 2. Svarthe matau kevalam alla-ellau Sakalya-Mandavya-mate ha-karah// I. V. 19. cf. MK. IV. 48. Eng. Tr. In the sense of "matup" the suffixes alla or ella are used pleonastically; but according to sakalya and Mandavya ha can, however, be used in such a case. As for example: ekkallo, ekkel!o, but ekkaho, puttallo, puttello, but puttaho. 3. Ktvarthe [tu-tum] samsanti ke'pi dhirah Sakalya-Mandavyamate vilokya// I. V. 23. cf. Pu. IV. 24. MK. IV. 38. Eng. Tr. Following the teachings of Sakalya and Mandavya, some grammarians prescribe tu or tum (or tuman if Dolci's reading) in the sense of "ktya". 4. tujjhe ca tushe sasi vo ca vacyah Sakalya-Mandavya-mate tu tumbhe// I. VI. 25. cf. Vr. VI. 28-29. MK. V. 83-84. Eng. Tr. tujjhe, tumhe and vo will be found in the accusative plural (sasi) [of the second personal pronoun]; but according to Sakalya and Mandavya the form tumbhe also will be used. 5. Sakalya-Mandavya-mate tu eva bhavya kta-tum-ktvapara editau ca// I. VII. 14. cf. Vr. VII. 28. MK. VI. 7. Eng. Tr. According to sakalya and Mandavya e or i may optionally be used in the past participle (kta), in the infinitive (tumun) and in the indeclinable perfect participle (ktva); [while in general the suffix will be avi].

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FRAGMENTS OF EARLIEST EASTERN PRAKRIT GRAMMARIANS : 273 6. tvarestu to tuvarae Sakalya-mate. Vitti under I. VIII. 1. Eng. Tr. According to sakalya tvar will always be changed into tuvara. 7. kather hakaro'tha bhidi-cchidorndo bhede ca Sakalyamate tayoh syat// I. VIII. 14. Eng. Tr. In the sense of piercing'(bhede) the roots bhid and chid will take nda in place of da, so says Sakalya; e. g. V bhid > bhindai, chid > chindai. 8. Dhatu-svarupanyaparani pakse Sakalya-Mandavya-matanugani/ Katyayanasyapi mate tathaiva jneyani laksyanubhavakramena// I. VIII. 42. Eng. Tr. Following the foot-steps of Sakalya and Mandavya there are, on the other hand, other forms of these roots; and similarly according to Katyayana there are other forms too. These are to be known from the usage. 9. bho ho ca Sakalyamate bhuvasca. II. I. 25. cf. hosca Sakalyamate syat. MK. IX. 109. Eng. Tr. (In Sauraseni) bho is substituted for the root bhu; but according to Sakalya ho can also be used. Markandeya on Sakalya. 10. halantad id eveti Sakalyah. Vrtti under V. 30. Eng. Tr. The feminine suffix i only takes place after a word ending in consonants-according to sakalya; (otherwise, a and i are irregularly interchanged as the final letter in feminine words ending in a]. cf. The sutra in which he is mentioned. aditau bahulam. MK. V. 30. striyam namna uttare aditau bahulam syatam. sohana sohani/ suppanaha suppanahi/ raha rahi/ kvacid adeva. pia/ vallaha/ asahana/ ahana/ manini/ manamsini/ halantad id eveti Sakalyah// cf. Vararuci aditau bahulam. V. 24 cf. also Vasantaraja's commentary where a couplet is quoted : adantat paramakara ikaro vyanjanad api/ ity evam vyavatisthante bahulagrahanat pare// GJ.V. 18

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274 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME 11. tujjha-tumhau supi syatam Sakalyasyata in mate. V. 96. cf. RT. I. VI. 29. Eng. Tr. In the locative plural (of the Second Personal Pronoun), the forms will be tujjhesu (m), tumhesu (m) and tumbhesu (m) (with or without a final anusvara). Then he adds-etat tu na bahusammatam. 12. hosca Sakalyamate syat. IX. 109. (vide No. 9) Markandeya on Kohala. 13. Raksasa-bhiksu-ksapanaka-cetadya Magadhi prahur iti Kohalah. XII. 1. Eng. Tr. Magadhi is spoken by demon (raksasa) by religious mendicants (bhiksu), by the Jainas and by the menials. Ramatarkavagisa on Kapila. 14. Kapilasya tavya-ktayor gahih syat. II. 1. 28. Eng. Tr. Kapila does not want the substitute for the root grah into genha in the gerundive adjective (tavya) and in the past participle (kta). Cf. MK. IX. 130 (vide No. 15). Markandeya on Kapila. 15. na kia-ktavatu-tavyesu Kapile genham icchati. IX. 130. Eng. Tr. Kapila does not want the substitute for the root grah into genha in the gerundive adjective (tavya) and in the past participle (kta) cf. RT. II. 1. 28 (vide No. 14).

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Jaina Bronzes in the Patna Museum H. K. PRASAD THE Patna Museum has got a fine collection of Jaina bronzes. These are from two places, namely, Chausa in Shahabad District and Machuatand Aluara in district Manbhum. In style and execution, the Chausa Jaina bronzes are quite different from the Aluara Jaina bronzes. They are, therefore, discussed here separately. A. THE CHAUSA JAINA BRONZES In about the year 1931 from a field at Chausa', a hoard of 18 Jaina bronzes was discovered while digging the earth. It consisted of a 1 Chausa is a village in Buxar sub-division in the district of Shahabad. It is very close to the Karmanasa river which is about 4 miles west of Buxar town on the East Indian Railway, and lies in between 25deg 31' North and 83deg 54' East. In Indian history, it is mostly remembered as the place where the Moghul Emperor Humayun was defeated by Sher Shah in June 1539. It was also an important centre of Jainism at one time, which fact we can infer from the significant finds of the above Jaina bronzes in a hoard, and other Jaina antiquities near about it. At Masarh, not far away from Chausa and about 6 miles to the west of Arrah town (Dist. Headquarter of Shahabad), some Jaina antiquities have been found. Arrah itself abounds in a number of Jaina temples-some of them

Page #751
276 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Dharmacalra, a Kalpavrksa and 16 images of Jaina Tirthankaras. The entire hoard was subsequently acquired for the Patna Museum. The Chausa bronzes can be divided into three groups, viz., (i) one Dharmacakra and one Kalpavsksa; (ii) ten standing images of Tirthankaras; (iii) six seated images of Tirthankaras. First Group The Dharmacakra of the first group has a handle flanked by two nude female figures (Yaksinis), one on each side of the handle, and coming out of the mouth of two Makaras with long upturned fish-tails (Patna Museum Catalogue, pl. XVIII). The Yaksini figures are very much similar to those of Sanci Toranas in style and execution and the Makaras have similarity with those of Bharhut Railings. These tend to suggest that the Dharmccakra may be placed in the period of Bharhut and Sanci (2nd-1st centuries B.C.) i.e. in the Sunga perioda. This Dharmacakra associated with the Yaksinis and the Makaras, is an independent object of worship and does not occupy a subordinate place as we find on pedestals of a Jina figure in the later periods. The subordinate position of Dharmacakra in association with deer or bull on the pedestal of a Jina image probably took place during the Gupta period and continued onwards, but the depiction of Dharmacakra as an independent object of worship is of an earlier conception. Further, this Dharmacakra has sixteen spokes only with a hub in the centre, whereas the Dharmacakra of the Mauryan period has twentyfour spokes. This suggests that the present object is later than the Mauryan period. Hence in all proba are quite old. Near Arrah, there is a place known as Dhanpura where there are several Jaina shrines. There are other spots also near about Arrah where Jaina antiquities have been found. All these would tend to show that the entire area at one time was a stronghold of Jainism. 2 Stella Kramrisch also holds the same view (vide Patna Museum Catalogue of Antiquities, 1965, p. 107). Shah, U. P., Studies in Jaina Art, fig. 15. U. P. Shah is inclined now (after seeing the bronze in the Museum) to assign it to late first century B.C. or to the beginning of the next century, although earlier he had placed it in the Kusana period (vide Akota Bronzes, pl. 3). 3 Vide: The Dharmacakra appearing on the Lion-Pillar of the Mauryan period (Sarnath Lion Capital).

Page #752
JAINA BRONZES IN THE PATNA MUSEUM : 277 bility, it may be placed in the Sunga period (2nd century B.C.). (See fig. 1 for details of the Yaksis and Makaras supporting the Dharmacakra.) The other object, the Kalpavsksa", may also be placed in the same period. It has various branches and leaves. A female figure is seated on the top of it. She is depicted from bust upwards carrying a full bowl in her hands. The association of female figure with tree (probably as its presiding deity) was quite common during the Sunga period. We have the image of Salabhanjika in the Railing-pillars at Bodh Gaya, which are assignable to the Sunga period. In Sanci Toranas also of the Sunga period, we come across such female figures associated with trees. In terracottas of the Sunga period also we get such figures. Not only that, the female figure appearing at the top of the present Kalpaveksa has her facial features very similar to those of the female figure of the Sunga period. It is, therefore, quite probable that the present Kalpavrkna (Asoka tree) may also be of the Sunga period. The present KalpavTksa is represented independently, i.e., not in association with any Jina sculpture. But from the Gupta period onwards, a Kalpavsksa has never been represented independently. It always appears in association with a Jina sculpture as according to the Abhidhana-Cintamani of Hemacandra, the Kalpavsksa (or Asoka tree) was being regarded as one of the twenty-one atisayas or supernatural symbols (qualities) of a Jaina Tirthankara and as such it is represented in association with a Jina sculpture. (For a photo of this whole tree, see Patna Museum Catalogue, pl. XVIII). Second Group The ten standing images of the Jaina Tirthankaras are very similar in style and execution to the Jaina sculptures from Mathura of the Kusana period. Like the Mathura Jaina sculptures of the Kusana period, they are standing in Kayotsarga attitude and are naked. With the exception of the image of Parsvanatha, none of them bear their lanchana (distinctive symbol or totem). Their whole bodies are very crudely and roughly executed and the various limbs are quite disproportionate 4 According to Abhidhana-Cintamani of Hemacandra, the Kalpavrksa (otherwise known as the Asoka tree) is one of the twenty-one atisayas or supernatural symbols of the Jaina Tirthankaras,

Page #753
278 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME to their bodies. Their legs and hands are broad and they are just stumped below lifeless in a very crude manner. They stand without any grace and charm and appear quite dull and motionless. Their faces are broad and unattractive. All these characteristic features are also observed in the Mathura sculptures of the Kusana period. These Tirthankara images are represented singly, i.e., without the association of their Sasana-devatas (i.e. Yaksa and Yaksini) or chowribearers which came in vogue during the Gupta period. In this connection, B. C. Bhattacharya has rightly observed : "From Gupta period onwards, we find the Jaina sculptors have regularly appended the Yaksa and Yaksini figures to the sculptures of the Tirtharkaras Thus it may be concluded that the lanchanas as well as the Yaksa figures might have remained as isolated and in a germinal state and their actual association with the Jaina images did not take place in the Kusana age of Jaina art." Hence in all probability, the above images of the second group may belong to the Kusana period. The image of Parsvanatha (Arch. No. 6531, pl. 6) of this group, however, has been assigned to the early first century B.C. by U.P. Shah?, for to some extent it resembles in style and execution to that of the Parsvanatha image preserved in the Prince of Wales Museum of Western India, Bombay,8 5 Vide : The Jaina Iconography by B. C. Bhattacharya (published by Motilal Banarsidas, Lahore, 1939), p. 41; and U. P. Shah's paper on Introduction of Sasanadevatas in Jaina Worship' read before the Jainism and Prakrit Section of the All India Oriental Conference at Bhuvanesvara. "I should like to point out that no figure of an attendant yaksa or yaksi assignable to a period earlier than the sixth century A.D. is yet known."-U. P. Shah (Editor). 6 The characteristic features of the Kusana Jaina images are: (1) The Tirthankaras generally are depicted without their lanchana (distinct symbol for identification). (2) The Jaina Tirthankara generally remains in Kayotsarga posture. (3) The Tirthankara image is represented singly, i.e., without the association of his Sasana-devatas, i.e., Yaksa and Yaksini. (4) The Jaina Tirthankara usually remains naked. (5) The pedestal on which the Tirthankara stands remains simple, i.e., without any decoration. (6) In general, the images are crude in execution-having no refinement and delicacy which we find in the art of the Gupta period, 7 Shah, U. P., Akota Bronzes, p. 20, pl. 1b, 8 Ibid., pl. 1a.

Page #754
JAINA BRONZES IN THE PATNA MUSEUM : 279 which has long and slender limbs, the face archaic, resembling those of ancient terracotta figurines and the Harappa dancer. But a minute observation of the image in original under discussion reveals that his face is not so archaic as it appears in the photograph. His cheeks are not round but have some sloping depression ending in an oval shape; secondly his abdomen is just flat and has no bulge at the end like that of the Prince of Wales Museum's Parsvanatha and thirdly the forehead also has a broad vertical sloping depression and not horizontal flatness. All these suggest a later date for this image at least later than the first century B.C.' Third Group : The images of the third group consisting of six seated Tirthankaras probably belong to the early Gupta (or the Gupta) period. In this lot, two images of the Tirthankaras are associated with their lanchana (particular symbol). There is delicacy and refinement in their execution. As a matter of fact, all the images of this group have the grace and charm, life and vigour, all that is characteristic of a human being. They all have their naturalistic body representations. The different limbs are quite in proportion to their bodies. All these may suggest that the images of this group probably belong to the early Gupta or Gupta period.10 The Chausa bronzes are now described below. 9 "I still continue to regard this bronze as dating from c. first century B.C. Terracottas with such faces and dating from c. 2nd or 1st century B.C., are not unknown."-U. P. Shah (Editor). 10 The characteristic features of the Gupta period Jaina images are : (1) The image of Jaina Tirthankara is invariably associated with his particular lanchana. (2) Generally the Jaina Tirthankara is represented in association with his Sasana-devata (Yaksa and Yaksini). (3) The nudity of Tirthankara is very much restricted. During this age, in most of the cases, the Tirthankara image is given a sitting posture. (4) In most of the cases in a Jaina sculpture of this period and onwards, we get the occurrence of trilinear umbrella, a drum player surmounting the umbrella, a Dharmacakra symbol accompanied with either a pair of bul's or deer on either side and a pair of elephants on either side of the umbrella. (5) In general, there is delicacy and repose, grace and charm, life and vigour in the depiction of an image. Every limb of an image remains quite in proportion to the body,

Page #755
280: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME First Group (Sunga period) (1) P. M. Arch. No. 6540. Dharmacakra. The Dharmacakra has 16 spokes with a hub in the centre. It has got a handle which is flanked by two nude female figures (probably Yaksinis) coming out from the mouth of two Makaras -one on either side of the handle. The Makaras have long upturned fish tails. In between the upturned fish tails there is a flowery design. The Dharmacakra has two sides. There are perforations in between the two sides. The outer rim is beset with triratne devices. Its height along with the handle is 12" and diameter 8" (Fig. 1).11 (2) P. M. Arch. No. 6550. Kalpavrksa. The Asoka tree is shown with various branches and leaves; a female figure is seen seated on top of the tree-she is depicted from bust upwards carrying a full bowl in her hands and has scarf across arms with lotuses on her shoulders. It is very much corroded. It has pale yellow tinge throughout suggesting thereby that originally it was probably gold gilted. Broken. Height: 134". (Fig. 2) 13. Second Group (Kusana period) (3) P. M. Arch. No. 6538. Image of Rsabhanatha or Adinatha recognised as such from his Kesavallari (wavy-hair) falling down on his shoulders and back; the Jina is standing in Kayotsarga attitude, his hands are just stumped. below (reaching to his knees) without showing any movement of life in them; there is a circular halo (Sirascakra) at his back; has flowery designs; the figure is nude and shows traces of gold slip on the body. Height 10". See Fig. 3 for details of head and torso and see Patna Museum Catalogue, pl. XX, for a full view of the Bronze,13 (4) P. M. Arch. No. 6539. Image of Rsabhanatha or Adinatha recognised as such from his Kesavallari-long straight twisted hair-falling over his shoulders and also going back; the Jina, standing nude in Kayotsarga posture, has 11 For a full view of this Dharmacakra, see Patna Museum Catalogue pl. XVIII. 12 For a full view of the Kalpavrksa, see, ibid., pl. XVIII. 13 First published by Shah, U. P., Studies in Jaina Art, fig. 17, and Akota Bronzes, fig. 2a.

Page #756
Fig. 1. Detail of lower part of bronze Dharmacakra from Chausa Fig. 2. Detail of upper part of bronze Asoka-tree from Chausa (See p. 275)

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Bucation International wwwjainelibrary.org Fig. 3. Rsabhanatha, bronze from Chausa Fig. 4. Parsvanatha, bronze from Chausa

Page #758
Fig. 5. Rsabhanatha and Mahavira, from.Aluara

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Fig. 7. Ambika, bronze from Aluara Fig 8. Rsabhanatha, bronze from Aluara

Page #760
JAINA BRONZES IN THE PATNA MUSEUM : 281 crudely executed hands reaching up to his knees, and pierced long ear-lobes. The limbs are not in proportion to the body. Height : 83". For a photo see Akota Bronzes, fig. 2b, and Patna Museum Catalogue, pl. XX. (5) P. M. Arch. No. 6533. Image of Parsvanatha recognised as such by his particular lanchana the "Serpent"; all along his back side is a serpent coil (its head broken) clinging to his body. The Jina is standing in Kayotsarga attitude on a rectangular pedestal, and wears no garment; note also the curly hair, eyes, nose and lips, chest and abdomen bulging out in a very unnatural crude manner. Height : 121". For a photo see Patna Museum Catalogue, pl. XXI. (6) P. M. Arch. No. 6531. Image of Parsvanatha recognised as such by his particular lanchana-the serpent hood-at the back of his head; standing in Kayotsarga attitude, portion below knees missing, very much corroded and highly oxidized, sex exposed, damaged. Height : 10". See fig. 4 for details of the head and shoulders and Patna Museum Catalogue, pl. XX, for a full view. Also see Akota Bronzes, fig. 1b. (7) P. M. Arch. No. 6535. Image of a Tirthankara, standing in Kayotsarga attitude, having ringlets impressed for curly hair over head, hands just stumped below in a very crude manner with no grace, charm, life or vigour in them; fingers of his hands and legs are also very crudely executed, having flattened body without showing any proper contours and features; hands and legs not in proportion to the body; sex exposed; break across upper arms. Height : 141". (8) P. M.Arch. No. 6536. Image of a Tirthankara, standing in Kayotsarga attitude, having bulging chest; curly hair in concentric spiral shape impressed flatly over head, defaced srivatsa symbol on chest, elongated holed ear-lobes, badly corroded bronze, break across legs; sex exposed. Height : 174". (9) P. M. Arch. No. 6537. Image of a Tirthankara, standing naked in Kayotsarga pose and having curly locks of hair over head, struts between arms and body, Srivatsa symbol on chest, break across knees and forearm. Height : 18". For a full view see Patna Museum Catalogue, pl. XXI.

Page #761
282 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (10) P. M. Arch. No. 6530. Image of a Tirthankara, standing in Kayotsarga attitude, having hair arranged in parallel rows, Srivatsa symbol on chest very prominent, legs not in proportion to the body, crude in execution, chest and abdomen bulging out, broader face, pupils marked, elongated ear-lobes, body slightly battered. Height : 191". For a photo see Patna Museum Catalogue, pl. XXI. (11) P. M. Arch. No. 6532. Image of a Tirthankara, portion of hands missing, standing in Kayotsarga pose, curly hair in spiral form over head, chest and abdomen unusually bulging out; elongated ear-lobes, faint Srivatsa symbol on chest, pupils marked; break across right leg. Height : 17". (12) P. M. Arch. No. 6534. Image of a Tirthankara, standing in Kayotsarga pose, head without hair, legs unusually long, portion of hands missing; break across right leg, crude in execution, corroded. Height : 133".. Third Group (Early Gupta or Gupta period). (13) P.M. Arch. No. 6553. Image of Rsabhanatha, recognised as such by his Kesarallari (locks of curly hair falling down on his shoulders), hair over head parted in middle, seated in Vajraparyanka attitude with Dhyanamudra, Srivatsa symbol (?) on chest, tenon at back of head, corroded, Height: 52. (14) P. M. Arch. No. 6554. Image of Rsabhanatha, recognised as such by his locks of hair (Kesavallari) falling down on his shoulders, two rows of curls around his forehead and rest parted in middle, seated in Vajraparyanka attitude with Dhyanamudra, wearing elongated ear-rings, Srivatsa on chest, tenon at back of head, corroded. Height : 6". Patna Museum Catalogue. pl. XIX. (15) P. M. Arch. No. 6556. Image of a Tirthankara, seated in Vajraparyanka attitude with Dhyanamudra on a plain rectangular pedestal, right hand damaged, major part of halo missing, facial expression not clear, very badly corroded. Height: 31".

Page #762
JAINA BRONZES IN THE PATNA MUSEUM : 283 (16) P. M. Arch. No. 6551. Image of Candraprabha, seated in Vajraparyanka attitude with Dhyanamudra on a double-sided rectangular pedestal; lanchana, the "crescent" on top of beaded halo (Sirascakra) at the back of his head; Makara heads on either side of throne at his back, locks of hair falling on his shoulders, Srivatsa on chest, wearing elongated ear-rings, corroded. Height : 84". (17) P. M. Arch. No. 6552. Image of Candraprabha recognised as such by his particular lanchana, the "crescent" on top of beaded halo (Sirascakra) at the back of his head; seated in Vajraparyanka attitude with Dhyanamudra on a double-sided rectangular pedestal, Makara heads on either side of the throne at his back, locks of hair falling down on his shoulders, hair on head arranged in parallel rows with a knot at the top. Srivatsa on chest, wearing elongated ear-rings. Corroded and damaged. Height : 77". Patna Museum Catalogue, pl. XIX. (18) P.M. Arch. No. 6555. Image of a Tirthankara, seated in Vajraparyanka attitude with Dhyanamudra on a double-sided rectangular pedestal, halo (Sirascakra) at the back of his head, wearing elongated ear-rings; features and contours of body very much blurred, corroded. Height : 53". B. THE ALUARA JAINA BRONZES In March 1947, a hoard of twentynine Jaina bronzes was discovered from a field at Aluarale in District Manbhum. Twentyseven of them were images of Jaina Tirthankaras, one of them was an 14 Village Aluara (also known as Machuatand Aluara) in P. S. Chandankiyri District Manbhum is situated near the BengalNagpur Railway line running between Mohoda and Tegaria Railway Stations. On 16-3-47 these bronzes were discovered accidentally, while digging earth for preparing clay for building purposes. Manbhum was once a great centre of Jainism. There are quite a large number of Jaina antiquities scattered all over the district of Manbhum. At Balrampur village, about four miles from Purulia, the district headquarter of Manbhum, there is a Jaina temple in which are kept very old Jaina images. Very near to village Boram, towards the south about a mile away, there is a Jaina shrine where there are naked Jaina images. At Kumhri & Kumardaga (the two

Page #763
284 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME image of a female deity-probably Ambika--and another was just a head of a Tirthankara. These have now been acquired for the Patna Museum as Treasure Trove objects. These images are quite different from those of the Chausa in their technique, form and depiction and represent a local style of their own. The following characteristic features are noticed in these images : 1. These images are solid cast and have no core of other substance as we find in the Jaina bronzes from Chausa. 2. The images in general have delicacy and charm in them and their various limbs are quite in proportion to their body. Every portion of their body is properly delineated and finely executed. 3. The images do not stand exactly in Kayotsarga posture like those of the Kusana period. Their hands are not stretched downwards exactly parallel to their body-instead their palms and fingers touch their knees. 4. Some of the images have urna on their foreheads and all of them are associated with their lanchanas. These peculiarities came in vogue during the Gupta period and continued onwards. 5. The pedestals on which these images stand are not simple like those of the Kusana period. The designs of most of them are complex. They are divided into various tiers and some of them show vertical cuttings forming parallel lines and showing some space in between the two. Further, some of them are decorated with the figures of devotees, which tradition originated probably during the Gupta period and continued onwards. villages about 5 miles from Chandankiyari) there are some old Jaina images. At Pakbira, about 20 miles northeast of Bara Bazar of Purulia (district headquarter of Manbhum), there are numerous temples and sculptures of the Jaina religion. Among these the most important is a naked colossal figure (74 ft. high) of a Jaina Tirthankara. At Chharra, about 4 miles from Purulia, are visible old remains of Jaina temples. At Dharmasthan, nearby Chharra, there are quite a large number of broken images of Jaina Tirthankaras, some of them very old. All these would go to show that the District of Manbhum was once an important centre of Jainism.

Page #764
JAINA BRONZES IN THE PATNA MUSEUM : 285 6. The lanchanas of the Tirthankaras are depicted on the pedestal itself and not on the stole or at the top of the halo as we find during the Gupta period. This peculiarity came in vogue during the Pala period. 7. Two of the images of the Tirthankaras are shown inside canopied simhasanas, which is a very late conception. Probably it originated during the Pala period. 8. Some of the images are inscribed in characters assignable to about 11th century A.D. on palaeographical grounds. And as such these images are much later in date than the Chausa bronzes. Some of these images can be identified as follows with the help of their lanchanas : (a) Rsabhanatha, (b) Candraprabha, (c) Ajitanatha, (d) Santinatha, (e) Kunthunatha, (f) Parsvanatha, (g) Neminatha, (h) Mahavira, (i) a female deity, probably Ambika. These are now described below. (1) P. M. Arch. No. 10676 : Rsabhanatha. Recognised as such by his Kesavallari falling on his shoulders and from his lanchana, the 'Bull', depicted on his pedestal; standing on a lotus pedestal with his hands reaching his knees; hair on sides arranged in curls with bends shewn upwards and hair on head arranged in a spiral knot at the top; having urna on forehead. Height: 33". (2) P. M. Arch. No. 10680 : Rsabhanatha. Recognised as such by his Kesavallari falling on his shoulders and from his lanchana, the 'Bull', appearing on his pedestal, standing on a lotus pedestal with his hands coming down to his knees, hair on sides arranged in curls with bends shewn upwards and hair on head arranged in a spiral knot at the top, having urna on forehead; traces of srivatsa on chest, pedestal divided in various tiers and showing his emblem (lanchana), the 'Bull', and having a devotee with folded hands seated on some object which comes out from the lower portion of the pedestal itself. Inscripton on pedestal which reads "Adharya Mayila". Height: 7!". (Fig. 8.) (3) P. M. Arch. No. 10681. Rsabhanatha, but without Srivatsa on chest; pedestal also not showing the figure of devotee and is differently designed than the earlier ones-its middle portion shows vertical cuttings in parallel

Page #765
286 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME lines all around having space in between the two and is not inscribed. Height: 71". (4) P. M. Arch. No. 10682: Rsabhanatha & Mahavira. Image of Rsabhanatha and Mahavira standing together on a lotus pedestal against a high backed throne (?); Rsabhanatha having his Kesavallari falling down on his shoulders and his emblem (mutilated) "Bull" represented on the pedestal; small urna marks shewn on his forehead and a halo with triple umbrella at the back of his head, his hair over head arranged in spiral form with a knot at the top, Srivatsa on chest; Mahavira, recognised as such by his lanchana (emblem) the "Lion" depicted on the pedestal, urna marks (only the traces) shewn on his forehead and a halo with trilinear umbrella at the back. of his head, Srivatsa on chest. Height: 7". For a photo see fig. 5, also see Patna Museum Catalogue, pl. XXXV. (5) P. M. Arch. No. 10683: Rsabhanatha. He is recognised as such by his Kesavallari falling down on his shoulders and coming up to his chest; standing on a lotus pedestal with his hands coming down straight and touching his knees with fingers; his emblem "Bull" is represented on the pedestal, his hair over head arranged in spiral form with a knot at the top, urna shewn on his forehead. Height: 71". (6) P. M. Arch. No. 10684. Ditto. Height: 7". (7) P. M. Arch. No. 10685. Ditto, but pedestal differently designed-showing vertical cuttings in parallel lines having space in between the two. Height: 5". (8) P. M. Arch. No. 10686. Ditto. Height: 33". (9) P. M. Arch. No. 10687: Rsabhanatha. He is recognised as such by his Kesavallari falling down on his shoulders and by his emblem "Bull" depicted on the pedestal, seated on lotus pedestal in Vajrasana, Dhyanamudra, hair on sides arranged in curls with bends shewn upwards, and on head arranged in spirals (not so clear) with a knot at the top. Height: 2". (10) P. M. Arch. No. 10689. Kunthunatha. Standing on lotus pedestal with his hands coming down to his knees, hair on head arranged in a top knot, his emblem "Goat" represented on the pedestal. Height: 24".

Page #766
JAINA BRONZES IN THE PATNA MUSEUM : 287 (11) P. M. Arch. No. 10690. Ditto; but the pedestal shows eight seated attendants or devotees.15 Height : 41". (12) P. M. Arch. No. 10691. Ditto, with urna on forehead and the pedestal showing nine seated devotees (or attendants).16 Height : 6%". (13) P. M. Arch. No. 10692. Ditto. Height : 6%". (14) P. M. Arch. No. 10693: Ditto; pedestal showing eight seated attendants.17 Height : 41". (15) P. M. Arch. No. 10675. Ditto; but the pedestal showing only his emblem "Goat" and is differently designed than the previous ones--it has vertical cuttings in parallel lines having space in between the two. Height : 4". (16) P. M. Arch. No. 10695. Candraprabha; standing on lotus pedestal-with his hands . coming down to his knees, pedestal showing his emblem the "Crescent" and divided in vertical cuttings in parallel lines with space in between the two, having urna on forehead and hair on head arranged in top knot fashion. Height: 63". (17) P.M. Arch. No. 10696. Ditto; but features blurred. Height : 41". (18) P. M. Arch. No. 10697 : Ajitanatha Standing on lotus pedestal which is divided in various tiers and has his emblem the "Elephant" on it, having urna on his forehead, hair on head arranged in top knot fashion. Height : 5}". (19) P. M. Arch. No. 10688 : Neminatha (?). Probably the image of Neminatha (his emblem conch-shell on the pedestal is not clear), standing on lotus pedestal which has vertical cuttings in the lower portion (just above the lowest support) in parallel lines with space in between the two, hair over head arranged in top knot fashion. Height : 63". 15 These may be the Planets.--U. P. Shah. 16 These may be the Planets.-U. P. Shah. 17 These may be the Planets.-U. P. Shah.

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288 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (20) P. M. Arch. No. 10674 : Vimalanatha. Standing on lotus pedestal with his hands coming down to his knees, having urna on his forehead, hair on head arranged in a top knot fashion, his emblem "Boar" on the pedestal is not very clear. Height : 43". (21) P. M. Arch. No. 10670 : Mahavira. Standing on a simple lotus pedestal inside a four-pillared simhasana with double chatra with his hands coming down to his knees and touching them with his fingers; hair on head arranged in a top knot fashion; his emblem "Lion" is depicted on the lower portion of the simhasana on the front side; inscription on simhasana which reads : Sri Ananda tasya Putra Vannati thakur muni (?). Height of figure : 8". Height of simhasana : 21". Patna Museum Catalogue, pl. XXXVI. (22) P. M. Arch. No. 10671 : Mahavira. Standing on lotus pedestal with his hands coming down to his knees and touching them with his fingers, having urna on his forehead and hair on head arranged in top knot fashion; his emblem "Lion" is. depicted on the pedestal; inscription on pedestal which reads "Sri Acarya Ratnacandra Saha (?) yakasya." Height : 87". (23) P. M. Arch No. 10672. Ditto : Inscription on pedestal which reads "Danam pri (?) ti manvita." Height : 61". (24) P. M. Arch. No. 10673. Ditto : With nine attendants seated on pedestal; inscription on pedestal at the back which reads "Kulistha ila kunakya." Height: 63". (25) P. M. Arch. No. 10677. Ditto, but without any attendant and inscription on pedestal. Height : 34". (26) P. M. Arch. No. 10678 : Parsvanatha. Image of Parsvanatha recognised as such by his lanchana-the seven-hooded serpent-at his back, seated on a lotus pedestal in Padmasana inside a four-pillared simhasana with double chatra, nine attendants seated on pedestal;18 inscription on simhasana which reads 18 These are the nine planets.--U. P. Shah.

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JAINA BRONZES IN THE PATNA MUSEUM : 289 " Sri Acarya (ya) Su-mayila." Height : 12". See fig. 6 also, Patna Museum Catalogue, pl. XXXVI. (27) P. M. Arch. No. 10679. Ditto, seated on lotus pedestal with two serpent-devotees on pedestal, inscription on pedestal indistinct. Height: 5". (28) P. M. Arch. No. 10698 : Head of a Jina. Head of a Tirthankara with urna on his forehead and hair on head arranged in a top knot fashion, having half closed eyes and wearing elongated ear-rings. Height: 53". Patna Museum Catalogue, pl. XXXVII. (29) P. M. Arch. No. 10694 : Ambika (?). Image of a female deity probably19 Ambika standing in tribhanga attitude on lotus pedestal, profusely ornamented and wearing a sari as her lower garment, her left hand kept low in an artistic manner and touching the side of her knees with her fingers and her right hand raised up towards the front and holding some object; pedestal showing two attendants (only the legs one of them present) and her emblem --the "Lion". Height: 5". See fig. 7. Also Patna Museum Catalogue, pl. XXXVII. Imo 19 She can be safely identified as Ambika, the Yaksini of Neminatha. In the photo published here, the figure of the child on the right is mutilated but in the photo published in the Patna Museum Catalogue, the figure is clearly seen. Photo published here is from a negative prepared by the Prince of Wales Museum, Western India, Bombay. Photos of figures 7 and 8 are by courtesy of the Prince of Wales Museum, Bombay.-U. P. Shah. G.J.V. 19

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Some Early Jaina Temples In Western India M. A. DHAKY ESTERN India, not merely in a territorial sense but in its more vital, kinetic implication-the cultural aspect, and hence the Maru-Gurjara culture itself-owes much to Jainism, its Svetambara variety in particular. This is symbolized in and summed up by the gentle character of her people, vegetarianism, and, above all, a great tradition of architecture, to the sustenance of which Jainas contributed almost half the share; they even aided its survival in the late Middle Ages, until finally, they are left, today, almost the sole patrons of the traditional, ecclesiastical architecture in Rajasthan and Gujarat which form an indissociable cultural unit, the Western India. The vastusastras of Western India, composed for the most part by the anonymous Brahmanist architects, acknowledged (as early in Solanki times when the earliest of such books were compiled) their debt to the Jainas by according generous sections to Jaina iconography and architecture. And Jainas built their religious foundations that were legion, an extraordinary happening, had we not known the mediaeval epoch so intimately and so much in its completeness in relation to wwwwwwwww 1 Vide Section I of the author's Introduction to Prasadamanjari cover ing The Vastusastras of Western India (edited by PRABHASHANKAR O. SOMPURA).

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA: 291 Western India. For that, too, and now in our own turn and times, we are indebted to the sense of history and preservative quality of Jainism. This was possible-as we look back and try to collect and analyse the facts recorded in literature and thrown in relief through archaeological sources-by the circumstances which then prevailed, by the natural disposition of the people, and, above all, by the character of the Svetambara Jainism itself. Jainism was as anciently known, or perhaps a little lately, as Buddhism, particularly in Saurashtra region of the Gujarat sector of Western India. Girinagara (Junagadh), but more definitely Valabhi (Vala) in Saurashtra, even before it became the capital of the Maitrakas, was a stronghold of Jainism; a stronghold which persisted but secondary always to Buddhism until it got its chance later on to make its influence felt and, with some intensity to be sure. Against the vast, organized monastic settlements of the Buddhists, Jainas have not much to show between the fifth and the seventh century. Equally, there are not many, and these too not very sound, bits of facts, which can allow us to estimate the degree of munificence shown to Jainism by Maitraka monarchs and their relatives who, by an overwhelming testimony of their inscribed charters, are known for their unbounded enthusiasm for Buddhism. Its existence in the earlier half of the Maitraka Period in Gujarat territory is, doubtless, proved. Jaina bronzes of the sixth century at Valabhi itself, again as old as the now world-famous Akota bronzes of which the oldest can be dated to the sixth century, the Digambara Jina image from Khedbrahma and the rockcut relief images of the same religious affiliation and of the same age at Dhanks, together with a few but indisputable literary evidences so endorse. But Jainism could show its strength only when Buddhism faded from the scene. Buddhism was, by eighth century, tottering throughout the subcontinent. At Valabhi itself, it was dwindling in strength, when, at the same time, Jainism seems to be slowly gaining in stature and weight. But before it could take fuller advantage of the situation, Valabhi was devastated (783-84) by the marauding Arabs from Sind. The sacred Jaina images, just before the 2 Consult SHAH, U. P., Akota Bronzes (Bombay 1959) for details. 3 Ibid. 4 SHAH, U. P., An Old Jaina Image from Khedbrahma, Journal of the Oriental Institute,' Baroda, Vol. X, No. 1, September 1960, Fig. 1. 5 This is the considered opinion of DR. U. P. SHAH.

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292 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME hot hours, were transferred, we are told by later Jaina prabandhas, to safer sanctuaries; to Devapattana (Prabhas Patan), to Vardhamana (Wadhwan), and to Bhillamala (Bhinmal). Jainism did not supplant Buddhism molecule by molecule, piece by piece, place by place; in expanse it covered many more sites (some of which later on grew to be its potential centres) where Buddhism never held sway, it would seem, at any date, early or late. Some of the well-known towns and cities of the mediaeval period were not even founded when Buddhism had its heyday in Gujarat. Anhilapataka (Patan) which came to be established in 746 (according to Jaina tradition) by Vanaraja Capotkata, a little township, an humble capital to a principality, was to become a focal centre, a proud and prosperous metropolis of an empire in the twelfth century. There, Prince Vanaraja founded a temple to Parsvanatha of Pancasar. An immigrant from Rajasthan, Pragvata Ninnaya, the ancestor of Governor Vimala of Dilwara fame, built a temple to Jina Rsabha at the newly founded capital for the benefit of Vidyadhara Kula of the Svetambara Church. At the same moment, at Tharapadra (Tharad) in North-west Gujarat, Vatesarasuri of Candra Kula established Tharapadra Gaccha: at the centre of its emanation a temple to Jina Rsabha was in existence. Digambara Jainism, too, is known to be followed in a few centres in Gujarat area in this age. At Vardhamana it had a temple sacred to Parsvanatha (Nannaraja Vasati) where Jinasena wrote his Harivamsa Purana in 783. This work was adored in the temple of santinatha at Dostatika as mentioned in the same work. Yet another work composed at Vardhamana, now in 931-32, was the Brhatkathakosa of Harisena.? Harivamsa Purana refers to Simhavahana Sasanadevi Ambika (atop Mt. Girnar) whose origin is associated with Kottinari (Kodinar) on the west coast of Saurashtra.za By the end of eighth century, the sectaries 6 Prabandhacintamani (1305) of Merutunga, sarga 50; Satyapura tirthakalpa (1311) inside Vividhatirthakalpa of Jinaprabha; and Ms. P (1472) in Puratana Prabandha Samgraha edited by Muni Jinavijaya : all published in Singhi series, Bombay. 7 SANDESARA, B. J., Wadhavan-mam racayela be Digambara Jaina grantho (Gujarati), Journal of the Saurashtra Research Society' Vol. I, No. 2, Sept. 1957. Both Jinasena and Harisena belonged to the Punnata Samgha of the Digambara Sect. 7a SHAH, U. P., Iconography of the Jaina Goddess Ambika, Journal of the University of Bombay', Vol. IX, pt. 2, Sept. 1940.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 293 of the Digambara Church had settled at Prabhasa; they had, like the Svetambarins, a temple to Jina Candraprabha there. A little later, along the same west coast, now eastwards, they founded a temple to Parsvanatha near Unnatapura (Una).8a At Stambhatirtha (Khambhat), too, they established their headquarters soon after. When we turn to Rajasthan, no centre of the stature of Valabhi is encountered at that age or earlier. A completely ruined brick temple of Jaina affiliation at Kesorapur near Bundi is supposed to be a fifth century erection.9 Next of note is the hoard of bronzes from Vatapura (Vasantgarh) in which the oldest inscribed document is the pair of handsome kayotsarga jina images dated to the year 688.9a The image of Mahavira in the temple at Nandiya with its two superb vahikas (chauri-bearers) 10 would come next. The image of Parsvanatha from Bhatewall is stylistically of the same age. Significant equally are the evidences furnished by the literary sources. It seems, by the end of seventh century, a Jaina temple existed at Bhillamala on the strength of Kuvalayamala (779) of Udyottanasuri who completed this work in the Astapada Prasada of Adinatha at Jabalipura (Jalor), a fane founded a little earlier by Friar Virabhadra to whom Udyottana refers very reverently. The Bhillamala temple could be one of a series founded in Gurjaradesa by Yaksadattagani (Yaksa Mahattara), one of the predecessors of Udyottanasuri. Jaina temples existed at Citrakuta (Chitor) in the time of Haribhadrasuri (8th cent.). Ninnaya of Anhilapataka, mentioned earlier, had founded a temple to some Jina at Candravati for the benefit of Jalihara Gaccha. At Nagapura (Nagaur) a Jaina temple 8 DHAKY, MADHUSUDAN and SHASTRI, HARISHANKAR PRABHASHANKAR, Prabhas-Patan-nan Pracina Jaina Mandiro (Gujarati) Svadhyaya', Vol. 3, No. III, V. S. 2023, Baroda. 8a A defaced image (in kayotsarga) of Parsvanatha datable to the ninth century has been found from this place and now preserved in Junagadh Museum. For its illustration, see NAWAB, SARABHAI, Bharat-nam Jaina tirtho ane temnum Silpa-sthapatya (1942), Fig. 12. 9 Consult JAINA KAILASCHAND, Jainism in Rajasthan. 9a U. P. SHAH has published this image in his Akota Bronzes as well as in Studies in Jaina Art. 10 KRAMRISCH, STELLA, The Art of India (1955), Fig. 54. 11 This, as informed by MUNI SHRI YASHOVIJAYAJI, is now in the Jaina temple of Chansma in North Gujarat.

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294 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME existed in 859 as reported by Jayasimhasuri in his Dharmopadesavivaranamala-v?tti. Jayasimhasuri's master, Krsnarsi, seems to have founded a temple in the fort of Nagaur.12 To the resurgent Jainism, from eighth century onwards, the kings, princes, and chieftains of various Western Indian dynasties were favourably disposed, some even extended positive patronage which included acceptance of Jainism as a personal faith. Vanaraja Capotkata we mentioned in the foregoing discussions. There was one Prince Raghusena of an unknown dynasty, who founded a Jina-bhavana at Ramasainyapura (Ramsen) in North-west Gujarat some time in the second quarter of tenth century. More important instances are known from the Imperial Caulukyas (Solankis) of Anhilapataka. King Mularaja I (942-995) founded, it would seem, Mulavasatika Prasada for the Digambara sect and a temple sacred to Mulanathajinadeva for the Svetambara Church at Anhilapataka. His successors Camundaraja as well as Durlabharaja respected Jainism. In the capacity of heir apparent, Camunda had made a grant to the Jaina temple at Varunasarmaka (Vadasama) in 977. Bhimadeva I (1022-64) held learned Jaina monks in high esteem. Suracarya and Santisuri rallied beside the throne in the battle of wits betwen Malava and Gujarat. Bhimadeva's son and successor Karnadeva (1064-95) was also generous to the Jainas. He granted land to the temple of Jina Sumatinatha at Takavavi or Takovi (Takodi) in 1084. His son and successor Jayasimha Siddharaja (1095-1144) made a further grant, presumably to the same Sumatinatha temple, in 1100. But Siddharaja did more than that for the Jainas. By about 1127 he founded Rajavihara at Anhilapataka and Siddhavihara (c. 1140) at Kristhala or Siddhapura (Sidpur). Out of all Solanki monarchs, Emperor Kumarapala (1144-74), under the influence of Hemacandra, showed the highest leanings to Jainism and displayed as much zeal in founding Jaina temples, each example being styled after him as Kumaravihara. The Kumaraviharas were erected at all important Jaina centres distributed between Jabalipura and Prabhasa. In Rajasthan, the facts almost compliment those known from Gujarat. The Imperial Gurjara-Pratiharas as well as the Pratiharas of Maddodara-Medantaka (Mandor-Medta) branch were zealous for Jainism. Pratihara Nagabhatta I founded Yaksavasati Prasada at Jabalipura, his capital, in honour of his guru Yaksadattagani whom we referred to a short while ago. The sanctuary of Mahavira 12 From Krsnarsi sprang a gaccha bearing his name.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 295 at Satyapura (Sanchor), so famous in the mediaeval epoch, as well as the temple to the same Jina at Koranta (Korta) are traditionally ascribed to him. To Vatsaraja Pratihara we shall have an occasion to refer to later. His successor Nagabhatta II was under the influence of Bappabhattisuri; while Nannasuri and Govindasuri, the two junior confreres of illustrious pontiff, were favourably received by his successor, the Pratihara emperor Mihirabhoja. The Jaina foundations by Nagabhatta II at Kanyakubja (Kanauj) and Gopagiri (Gwalior) lie outside the territorial limits of Western India. How early Pratiharas of the collateral branch in Marumandala reacted towards Jainism, we have no means to ascertain. Pratihara Kakkukaraja of Maddodara, a prince of some learning, founded a Jina Bhavana at Rohimsakupa (Ghatiyala) in 861. Guhila Bhartsbhatta I, Lord of Medapata (Mewar), built Guhilavihara in the second quarter of tenth century at the town founded by him after his name, Bhartrpadra (Bhatewar) in Mewar. The fane was consecrated by Budhagani of of Caitrapuriya Gaccha. His successor Allata is said to have erected a kirttistambha at Citrakuta.13 The relations between the early Cahamanas of Sakambhari (Sambhar) or Sapadalaksa and the Jaina Church are not clear. The later Cahamanas were of course generous to Jainism. Prthviraja I placed golden pinnacles on the Jaina temple at Ranathambhor. Similarly, his successor Ajayaraja placed golden pinnacles on the temple of Parsvanatha at his newly founded capital, Ajayameru (Ajmer). His son Arnoraja held Jinadatta suri in great respect. His son and successor Visaladeva Vigraharaja is said to have built Rajavihara at Ajmer. His successor Psthviraja II granted a village to the Digambara Jaina temple of Parsvanatha at Bijolya in 1169. Cahamana Somesvara, son of Arnoraja, granted a village to the temple of Parsvanatha at Rewa. Jainas had equally happy relations with the Cahamanas of Naddula (Nadol). How Laksmanadeva, the premier dynast of the Nadol branch, looked upon Jainism is not known with certainty. But his great-grandson Katukaraja, son of Asvaraja, made grants in 1110 and 1115 to the temple of Jina Mahavira at Samipati (Sewadi) with which we are to deal soon. Cahamana King Alhanadeva of Naddula promulgated a commandment of non-violence at Kiratakupa (Kiradu) in 1152. To the temple of Mahavira at Sanderaka (Sanderav) he 13 This one seems to have disappeared in antiquity.

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296 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME allowed a grant in 1171. Another Cahamana prince, a scion of the Naddula branch, Kirttipala, made a grant to the temple of Jina Mahavira at Nadduladagika (Nadlai), the twin to the city of Nadol, in 1160. The Rastrakutas of Hastikundi (Hathundi) had been ardent followers of Jainism. Vidagdharaja, son of Harivarman, founded a shrine to Jina Rsabha at Hastikundi in 917. His son Mammata gave a grant to the selfsame temple. Mammata's son and successor Dhavala renovated the temple and caused a well to be excavated for the temple. The queens of the princely households of the various dynasties in Rajasthan were also favourable to Jainism. Rajni Manaladevi, consort of Cahamana Rayapala of Naddula, together with her two sons, made a grant to the aforementioned temple of Mahavira at Nadduladagika in 1132. Queen Anhaladevi, consort of Alhanadeva, made a grant to the Sanderaka temple in 1169, two years previous to her husband's grant to the same temple. Queen Sangaradevi, consort of the Paramara Prince Dharavarsadeva of Candravati, granted some land to the temple at Jhadauli or Jhadavelli (Jhadoli) in 1197. Guhila Queen Jaitalladevi, mother of Maharana Samarasimha, founded a temple to Jina Parsvanatha in 1278 at Citrakuta. Side by side the royalties, the ministers and high officials, several of whom professed Jainism, were liberally munificent in founding Jaina temples, monasteries, and libraries. Dandanayaka Vimala raised a temple to Adinatha at Deulavadagrama (Delwada, Dilwara) on Mt. Abu in 1032. Poet Meha (1443) refers to two other works of Vimala, a Vimalavasati at Satrunjaya and one other at Arasana (Kumbharia). Santu, prime minister to Solanki potentate Karnadeva, built Santuvasatika at Anhilapataka as well as at Karsavati (Ahmedabad). Munjala, minister to Karnadeva and supposed afterwards to be a minister to Jayasimha Siddharaja as well, founded Munjalavasati at ANhilapataka before 1093. Minister Udayana founded Udayanavihara (1093) at Karsavati and Udayanavasati at Stambhatirtha. He also founded a temple to Jina Simandhara at Dhavalakakka (Dholka) in 1119. Mantri Solaka founded Solakavasati at Anhilapataka some time before 1112. Dandanayaka Kapardi built a shrine to some Jina in the same city in 1119. Sajjana, Dandanayaka of Sorath, built the famous sanctuary of Neminatha (Karnavihara) atop Mt. Girnar in 1129. Psthvipala, minister to Kumarapala, added mandapas to Vanarajavihara at Anhilapataka, Vimalavasati at Dilwara (1150), and Ninnaya's temple at Candravati.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA: 297 In addition, he founded a shrine sacred to Jina Santinatha at Sayanavadapura. Minister Vagbhatta, son of Udayana, replaced the old. temple of Adinatha on Satrunjaya by a new edifice between 1155 and 1157. He also extended Udayanavihara at Dholka in 1167. His brother Amrabhatta replaced the antiquated Sakuni caitya at Bhrgukaccha (Bharuch, Broach) by a magnificent new shrine in 1166. Excelling all, were the constructional works by the two illustrious brothers, Vastupala and Tejapala, the former being the Prime Minister to the Vaghela Regent Viradhavala. A statesman of extraordinary ability, Vastupala was an equally great literary figure and perhaps a still greater devotee of Jainism. Put together, the religious edifices founded by the two brothers go upward of fifty, a figure that would put to shame any emperor in the Middle Ages in India. Chief among these. were the Indramandapa and six other shrines in front of the great temple of Adinatha on Satrunjaya by Vastupala, the Vastupalavihara (1231) and temple to Paravanatha on Mt. Girnar, temple sacred to Adinatha at Dholka, and Astapada Prasada at Prabhasa. Tejapala founded Nandisvaradvipa caitya on Satrunjaya as well as in Karnavati, a temple to Neminatha at Dholka, on Mt. Girnar, as well as in Dilwara on Mt. Abu (1232), and to Adinatha at Prabhasa. He also founded. Asarajavihara at Aphilapataka in memory of his father and one temple. each at Darbhavati (Dabhoi) and Stambhatirtha to commemorate the name of his mother Kumaradevi. The late Vaghela times were, by comparison, less lustrous. A few works by the notables of this age, Jagadusa of Bhadravat! and Pethada of Mandavgarh, seem to be of some consequence. Jagadu founded temples at Dhanka (Dhank), Vardhamana, and Satrunjaya. Pethada's constructional activities were centered at Prabhasa, Dhavalakakka, Salaksanapura (Shankhalpur), and Satrunjaya. The recorded instances of foundations by ministers and other dignitaries in Rajasthan are relatively fewer when compared to what we know from Gujarat. The monuments erected between the eighth and the tenth centuries, that is to say when Pratiharas, Cahamanas and Guhilas were supreme, are more numerous in Rajasthan than in Gujarat. By eleventh century, the power of the Guhilas waned against the prowess of the Paramaras of Dhara; and the Paramaras of Abu and Cahamanas of Sakambhari and Naddula progressively lost ground against the imperial policy of the Solankis of Gujarat. Gujarat rose to heights in mid-eleventh century, all the more in the twelfth century when, under the aegis of Siddharaja and Kumarapala, it acquired the

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298 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME status of an empire. Consequently, the monuments of this age are more numerous in Gujarat territory of Western India. Thus, in our range within Rajasthan, we know three instances of Jaina erections by persons possessing ministerial office, out of whom two flourished in tenth century and one in the thirteenth century. Kunkana, a minister possibly to Paramara Aranyaraja of Abu, founded a temple to some Jina at Candravati in 954. A minister, unnamed, to Guhila King Allata, erected a temple to Jina Parsvanatha at Aghata (Ahar) some time during the latter half of tenth century. Bhandari Yasovira added a mandapa to the Astapada Prasada at Jabalipura. To think that the great ones alone maintained the hub of constructional force within Jaina Church, would be nothing short of a highly refracted image of what it actually was. The Jaina fraternity itself had become, by eleventh century, a very strong organization, automatic and self-sustained. The occasional royal patronage and the support by the high officials doubtless strengthened its structure. But its potency generated mainly through the contributions of the hundreds of lay followers of the Church. They were enlisted from the wealthy, commercial classes of Western India : the commerce was mainly controlled by certain Vanika (bania) communities. The Pragvatas (Porwadas) from the region east to Abu, Ukesavalas (Oswalas) from Ukesa (Osia), Srimalis from Srimala, i.e., Bhinnamala, Pallivalas from Pallika (Pali), and to a small extent Modhas from Mordheraka (Modhera) and Gurjaras professed Jainism. Pragvatas and Srimalis migrated into Gujarat, multiplied in number and spread throughout its length and breadth by twelfth century. These two communities have given not only the great tradesmen, but also statesmen and generals to whom Gujarat is indebted for her greatness in the Middle Ages. The Ukesavalas and Pallivalas contributed largely to the commercial prosperity of Western India. From literary records seconded as well as supplemented by inscriptional evidence, hundreds, nay, thousands, of Jaina images and, at the very least, three hundred Jaina temples existed in Western India before the close of the thirteenth century, Gujarat alone claimed two thirds of them. Several of these were vast complexes possessing clusters encircling chapels donated often by separate individuals, usually the relatives and descendants of the founder of the main shrine. Symbolic of opulence, but also of devotion, the Jaina sanctuaries of Western India, some of which had the most sumptuously decorated interiors, form the part of the rich, varied legacy of Indian architecture, and of the culture as a whole.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 299 But the moving spirit of the Church was undoubtedly the clergy. who, by their high ethical conduct, selflessness, piety, and profound learning kept the waters of Faith in motion; through their persistent efforts, from an incipient streamlet, a powerful riverine current emerged. The Svetambara clergy was, from Kusana days on, divided into ganas, sakhas, and kulas. Jainism, the waves of which passed on Rajasthan in post-Gupta Age, may have its epicentre in surasena country wherein Mathura seems to be their headquarters at least from Sunga days on. Between eighth and eleventh centuries, the four kulas-Nagendra, Candra, Nivstti and Vidyadhara-prevailed in Western India. Their ramifications into sub-orders-gacchas had already started, or at least foreshadowed in the eighth century itself. Eventually, kulas were lost and gacchas took their place.14 Several of these gacchas were the direct derivatives of the kulas15; but many new came to be established, some taking their names after their place of origin16, some after communities??, others after the founding preceptors18; still others came into existence on account of the schisms caused by differences of interpretation of scriptures, variances on ritualistic observances, and the like. The process of proliferation and branching was at its greatest intensity in the twelfth and thirteenth centuries. There were also instances of parochial attitude, disputes, which culminated into prolonged hostilities in case of the later gacchas20, true. The normal human weaknesses also worked their way in a few sub-orders of the monk. But these were exceptions, which represent and reflect a biased attitude based on premises which to an outsider would appear most minor, flimsy, even insignificant and unjustifiably frivolous. These inconsistencies apart, the general attitude of the Jaina samaritans possessed many positive aspects, facilities, uncrippled by sectarian, 14 More definitely from late eleventh century. 15 All the four original kulas mentioned in the foregoing began to be called gacchas. Several others derived from these original ones during the mediaeval period. As for example, Upakesa or Ukesa gaccha from Ukesa, Brahmana gaccha from Brahmana (Varman), Nanakiya or Nanavala gaccha from Nanaka (Nana), Sanderaka gaccha from Sanderaka (Sande rav), and so forth. 17 Pallivala gaccha and Khanderavala gaccha for instance. 18 Krsnarsi gaccha, Bhavadacarya gaccha, Devacarya gaccha etc. 19 Ancala gaccha etc. 20 Between Kharatara gaccha and Tapa gaccha for instance.

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300 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME territorial or racial outlook. They were concerned more with the Faith and the Following, not so much with the linguistic, regnal and regional criteria. They treated Western India as a single unit. They moved freely from kingdom to kingdom and received the same honour from each quarter, although the political relations among the different Western Indian states were oftener very tense. Much do we owe to these travelling Jaina monks of the mediaeval period who fostered and forged the overall cultural unity of Western India. From the pattavalis21, prabandhas22 and epigraphic sources, we obtain detailed information on the various sub-orders, their internal organization and their inter-relationships, and, the pious deeds of the monks themselves. The number of followers initiated to the order of the monks was staggering. Spiritual quest apart, and the zeal for the propagation of the Faith apart, many among them had achieved distinction in the field of learning: their literary pursuits have contributed substantially to the enrichment and preservation of the cultural heritage of Western India, and, established a tradition whose impact continues to be felt to this day. The great stalwarts of Jainism were important not only to the Sect; some of them were among the great sons of India, and worthy of her humanitarian, magnanimous civilization. To the earlier ones including great Haribhadrasuri of Vidyadhara Kula, we made a brief reference in the foregoing pages. There were silanka and Siddharsi of Nivstti Kula, Nannasuri, Pradyumnasuri, Abhayadevasuri, Dhanesvarasuri and Dharmaghosasuri of Rajagachha23, Yasobhadrasuri of Sanderaka Gaccha, Abhayadevasuri and Vadidevasuri of Vada Gaccha,24 Jinesvarasuri, Jinavallabha and Jinadattasuri of Kharatara Gachha,25 and, towering above all, Hemacandra of Purnatalla Gaccha whose names will be remembered in the annals of the religion and culture of India. The svetambara Jainism possessed some inherent qualities, special features, which were equally instrumental in its luxuriant flowering as well as survival in Western India. Its philosophy, but also its high ethics, its peaceable disposition, but also its stoicism, its persuasive power, but above all its faculty of accommodation com 21 See Pattavali Samuccaya by Darsanavijaya. 22 Prabandha works mentioned under foot-note No. 6. 23 See Jaina parampara-no Itihasa by TRIPUTI MAHARAJA. 24 Ibid. 25 Ibid.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 301 manded respect, if not always won love from the votaries of Brahmanism, priests and princes alike. This should not delude us to believing that Jainism had no hard times or occasions to suffer humiliation; nor that all kings looked upon Jainism with equal reverence or sustained respect. Prabandhacintamani records that the flags of all the Jaina temples (together with those of non-Saivaite temples) at Siddhapura were ordered (by Jayasimha Siddharaja) to be lowered down whenever a (new) flag was hoisted on the great temple of Rudramahalaya there, in imitation of the custom observed at Ujjain in regard to the non-Saivaite temples vis-a-vis the temple of Mahakalesvara. Had Siddharaja foreseen the ominous course of destiny which had ordained that the flags of all the temples between sakambhari and Bhsgukaccha, whether Brahmanical or Jaina, would have rolled down in dust at the closing hours of the thirteenth century, he could have preferred humility and refrained from insulting the friendly, benevolent Jainas who had served, and were serving, the State with great competence and dedication. But more outrageous was the policy adopted by the tyrant Ajayapala, a nephew of and successor to Kumarapala. Like the eastern Sasamka of whom he was the western image, he displayed the same hostility, animosity and hatred, in his times, to Jainism. Not satisfied with the perfidious assassination of his Jaina prime minister Kapardi and minister Amrabhatta, he next went to lay his demonic hands on muni Ramacandra, disciple of Hemacandra, whose physical extermination he brought about so cruelly, by burning him on a red-hot copper-sheet. That was not all. Out he went to destroy Jaina temples, particularly those founded by Kumarapala and by ministers who supported the late King. The cathedral of Taranga, sacred to Ajitanatha, founded by Kumarapala in 1165, a colossal temple equalling in size to the great temple of Somanatha (built by the same monarch in 1169), was saved with difficulty, by putting the evil king to shame through allegoric histrionics. Ajayapala had some personal reasons for his wrath toward Jainism, though no moral justification for a flagrantly vindictive onslaught. In days of Kumarapala, the preaching of non-violence had gone to the other extreme which involved very subtle violence and disregard for certain basic humanistic values. The construction of Yukavihara by confiscating the property of a man who killed a flea, or Undiravihara in memory of a dead mouse, are, by all standards, examples of religious zeal which had lost the company of wisdom. And too much familiarity of the Jaina monks with the Court had its points of danger too. When Jainas planned to have a successor of Kumarapala who must likewise, respect Jainism, they invited a nemesis in

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302 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Ajayapala. The price was paid by the Church for meddling in the affairs of the temporal power. But it also disrupted, from within, the great harmony of faiths and sub-cultures in Western India, partially restored by Vastupala in the thirteenth century, just enough to hold the fort against the menace of the invading Muslims, till the collapse came at the end of the thirteenth century. Barring these unpleasant incidences, the overall picture for Jainism in the Middle Ages is colourful, bright, and vibrant with life indeed. The murmurs and mutterings of the jealous Brahmins at the courts were normally not heeded to or encouraged by the ruling kings. That was not the fate of the Digambara Jainas, for example, elsewhere in India of those times. In the South, Digambara Jainas were persecuted by the bigoted convert Pallava Mahendravarman and afterwards by Virasaivas in Karnata. In Central India there are instances of the destruction of Jaina sanctuaries by the Brahmanists.25a Here they also had to encounter the philistinism of Krsna Misra whose Prabodhacandrodaya (late 11th cent.) is a shameless document of religious intolerance wherein no holds are barred against those sects which did not conform to the tenets preached by author's own. These perversive impulses were anticipated in the sacred architecture as well. At Khajuraho they had materialized in some of the atrocious erotic sculptures on the walls of the Laksmana temple (954) and Jagadambi temple (early 11th cent.) where the Digambara Jaina saints are portrayed in actions that defy all sense of descency.26 Evidently, such sculptures have no sanction of the vastusastras. They are the impositions by corrupt, deformed, envious, frustrated minds of the fanatics who misused the holy sanctum walls for displaying their evil ego and destructive urges. The disfigurement and disgrace of such Khajuraho temples, unfortunately marked for ever, are as outspoken as their art is splendid. Digambara Jainism is, perhaps, on its side, partly responsible for what all had happened. The theory of niscaya naya-absolutismcentral to its philosophy, rejects all other systems of thought, and dismisses all other paths of salvation advocated by other religions in 25a Jaina temples at Dudahi, Padhavali, and perhaps Budhi-Chanderi for instance. 26 TRIPATHI, LAKSMI KANT, The Erotic Scenes of Khajuraho and their probable explanation, 'Bharati, Research Bulletin of the College of Indology' No. 3, Banaras Hindu University, 1959-60.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 303 India. This circumscribed attitude made, sometimes, compromise difficult with the societies wherein its followers lived, particularly in the mediaeval epoch. The sapience of Svetambara Jainism, guided by the spirit of syadvada (relativity), on the other hand, never allowed itself to be closeted in a totalitarian, chauvinistic ideology. Haribhadrasuri, as early as in the eighth century, was an open-minded thinker, a great conciliator, who harmonized different sophistical view-points and reduced them to the same common denominators, which, in their ultimate analysis showed that, after all, there existed no real conflict between different systems of thinking, approaches differed though, and were, on some score, bound to differ. Hemacandra, a great heir to this great tradition, did not hesitate to visit the temple of Somanatha and offer a magnificent hymn to Siva Mahadeva. That explains everything: why the royalty in Western India possessed catholicity of religious taste and outlook and were so favourable to Jainism; how Jainas, though never very numerous, could build numberless temples; and why the vastusastras of Western India held Jaina divinities on a high level of recognition. Compare this with the parochial attitude of Samarangana Sutradhara, otherwise a great work on architecture and iconography, from Central India. Its complete silence over Jaina iconography and architecture will be found no more intriguing if its injunction to outplace the temples of heretical sects (pakhandi) which mainly includes Jaina (since, besides the Brahmanists, the Jainas formed the major group of temple builders in Central India of those days), is given due regard. The distaste of the Paramara emperor Bhojadeva of Dhara for Jainism is known to us through the anecdotes of Dhanapala, a Jaina poet at the Malava court. This unsympathetic attitude towards Jainism had, in general, no place in Western India. The persuasive power of the Svetambara Jainism and the tactfulness of its adherents performed some miracles in the days of Muslim domination as well. Jinadattasuri was respected at the Tughlak court, and Samarasa could obtain permission from Sultan Gyasuddin of Delhi to renovate the great temple of Adinatha on Satrunjaya : similarly, in early sixteenth century, Karmasa obtained permission for renovating the same fane from the ruling sultan of Ahmedabad. Still later, Hiravijayasuri and Jainacandra were honoured at the Mughal court: they even received farmans from the Mughal Emperor Akbar promulgating non-violence for certain periods in the Empire. Akbar, and Jehangir as well, permitted Jainas to build the shrines. That was the

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304 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME character, clement but potential, of Svetambara Jainism : it is also the secret of its survival and the honourable existence it found in Western India. Before it could attain its full growth, the Svetambara Jainism had to overcome two obstacles, one purely internal, the other being the rivalry of the Digambara Church. By eighth century, as among Buddhists, some lapses in the institution of the clergymen of the Svetambara Jainism had become a regular, hardened, almost integral feature of the Church. A monastic (Caityavasi) order, which did not require the abbots to follow the severe ethical code (prescribed for the monks in scriptures) with any degree of strictness, had come into existence and had by then become very widespread in Western India. The laxities of the Caityavasis were exposed and condemned by Haribhadrasuri in no (uncertain) terms. The bishops of such abbeychurches, very learned to be sure, exercised powerful influence both in the State and in the society. They were hostile to the ascetics of the Vanavasi Gaccha-mendicants who practised rigorous austerities--and to the travelling monks of similar categories known as Viharuka, Samvegi, Suvihita, and Samvijnavihari who represented the ancient, original system of Svetambara Jainism. The Pancasar minister at Anhilapataka was the stronghold of Caityavasis in Gujarat. Since the days of its first archbishop, Silagunasuri, the State decreed that no Jaina monks of the orders other than those approbated by the Caityavasi authorities could stay in Anhilapataka. This ban was lifted in 1011 through the efforts of Jinesvarasuri, a head of the group of Suvihita order, who managed, for the purpose, the intervention of the Solanki monarch Durlabharaja. The gates of Gujarat were thus opened for the monks who followed the true Belief' or rather the right Code of the "vetambaras. The die-hard elements of the Caityavasi system must have offered persistent resistance, it seems, to the spread of the other aforementioned orders. We, for instance, hear of Kumaravihara at Kancanagiri of Jabalipura referred to as "Vidhi Caitya' which, by inference, indicates the existence of Caityavasi order with a firm footing as late as in 1166. A Caityavasi abbot Padmaprabha was defeated, we gather from literary sources, by Jinapatisuri at a still later date, in 1182; from which point on, the abbey-churches eventually declined in strength. Digambara Jainism, compared to its counterpart, the Svetambara one, did not prevail in Western India with the same intensity; though, it was known from the seventh century at the very least, in Saurashtra

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 305 region, as we already saw. Its bid to war with and oust the Svetambara belief, a war of talents, albeit, fought at the kingly courts through disputations, eventually put it in an ungainly, unenviable position. Three such instances, of historic significance and, those which throw most light on and proved fateful to the future development and spread of Svetambara Jainism, are recorded in the annals compiled by the chroniclers. Kamalakirtti, the 'space-clad', proceeded for a doctrinal collision with Pradyumnasuri, the 'white-clad', at Guhila King Allata's court at Aghatapura; he was defeated;27 Kumudacandra, a scholar suffering from acute pragmatism, blundered in challenging astute and erudite Devasuri at the court of the Solanki potentate Jayasimha Siddharaja where Queen mother Mayanalladevi herself had presided; Kumudacandra's defeat was as disastrous as his retreat was unceremonious : 28 Gunacandra encountered with Dharmaghosasuri at the court of Cahamana Ajayaraja at Ajayameru; Svetambara Jainas once more emerged victorious. But Digambara Jainism, despite these set-backs, did thrive and retained its hold on Western India, particularly in the eastern sector of Rajasthan. In point of fact, it had early beginnings, or at least the tangible evidences of its footings are known from a date not later than the Pratihara period. There are, for instance, Digambara Jaina caves near Srinagara (Ramgarh) assignable to eighth or ninth century. Padmanandi refers to the existence of Jaina temples at Bara (Baran) in the tenth century. The rock-cut shrine of Padmayati at Nagadssha (Nagda) is dated to 946. The torana of the Digambara Jaina temple at Sanganer is referable to 954. There are remains of Jaina temples of late eleventh century as well as of twelfth century at Atru, Arthuna and Kishanvilas. The Khandelvalas (originally from Khandela), Bagheravalas (from Baghera), and Humbata (Humbad) in Vagada locale were and are the chief Vanika communities supporting Digambara Jainism in Rajasthan. Mathura Samgha and Mula Samgha were dominantly represented in Rajasthan. Whence came Digambara Jainism in Eastern Rajasthan is a point not so easy to decide. Movements from Gujarat, 27 Allata is said to have erected a kiritistambha at Citrakuta mention ed earlier, to commemorate this victory. 28 The Rajavihara at Anhilapataka was founded from the money Siddharaja offered to Devasuri who, being an ascetic, refused to accept it; he asked the king, instead, to found the temple. GJ.V. 20

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306 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Mathura and Malava might all have their share. Central India in the tenth century possessed a fairly large number of Digambara centres in all its sub-divisions--Malava, which included a portion of the present day Mewad and Uparmal tracts of Rajasthan-Gopagiri, Jejakbhukti, and Dahala of the Cedis. The adjacent Rajasthan tracts where Digambara Jainism prevailed, remain united with the greater and more expansive and extensive movements of the Digambaras in Central India. Digambara Jainism seems to have suffered eclipse soon after twelfth century in Eastern Rajasthan as well as in Central India. It, however, prospered fervently during the fifteenth century when it penetrated into Idar area of Gujarat as well. But these are the times which lie outside the range of our discussion. Moving backward and forward along the vast space-time continuum in Western India with special reference to Jainism, we had a sweeping, very fleeting glimpse indeed, of an intricate drama of the people--Jainas in their historical setting, as well as their architectural undertakings interlaced, embedded and projected on it. The group of temples we pledged to discuss forms an infinitesimal fraction, a mere ripple in a colossal current of architecture that once surged without inhibition in Western India. It nevertheless can be significant for two facts : consider, for instance, that all the temples at Sakambhari and Candravati, Bhillamala and Ajayameru, Anhilapataka and Anandapura (Vadnagar), Karnavati and Stambhatirtha, Bhrgukaccha (Broach) Satrunjaya, and Prabhasa--the pivotal centres of the Jainas as well as, with the exception of Satrunjaya, of the Brahmanists-have been swept away, some places with no traces save literary references to give the barest idea of what they had been; what is more, with the only exception of the Adinatha temple at Anandapura, which preserves an original socle and the lower wall mouldings of late tenth century,29 Gujarat sector has no early Jaina temple of consequence now left with it: 30 second, the group under reference covers temples that fully represent the three different, major architectural styles which once prevailed in and are characteristical of Western India. It also helps to comprehend, to a limited extent though, the evolution of a western Indian Jaina temple plan. 29 DHAKY, M. A., The Chronology of the Solanki Temples of Gujarat, "Journal of the Madhya Pradesh Itihasa Parishad' 1963, p. 22. 30 The small Ambika shrine near Than datable to late eighth or early ninth century is not of much consequence.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 307 We spoke of the three architectural styles, an acquaintance with which must forego the description of the monuments we have in mind. The first two styles--prevailing from the latter half of eighth century to the end of tenth century-precede in time to the third one; by their wedding, the first two acted as parents to the third style which was born at the dawn of eleventh century and which thenceforth became the legacy to and gained currency in the whole of Western India. With the awareness of the existence of these three styles, and their inter-relationships finding a broad but sure definition, there arises a problem of denomination of each single style in question. The vastusastras, those indispensable codes of structural rules, had little conception of regional styles; they were concerned, primarily and to the last, with the modes of temples and, at most, with their regional distribution. Hence, on this premise, no guidance is available through their agencies; hence we are obliged to look to other sources. That had been done, unconsciously, by scholars through half a century in India : to apply dynastic labels to art styles, a workable expedient, it was thought, in the domain particularly of the sculptural art. But that approach overemphasizes the role of political history, oversimplifies the cultural currents, and, underestimates, sometimes even ignores, the potential of the indigenous area elements' entrenched deeply in the soil of a given region. The causative factors of a style are, generally speaking, complex; it would be erroneous to reduce them to a few, watertight, rigid rudiments which tend to refer everything to the impact of and initiation by the ruling dynasties and their matrimonial relations. The words which can have a strong pertinence to what we said, have come, now, to us through an authority to whose august office all the information on the current researches on Indian art and archaeology pivots, and whose perception has the subtle facility of an electron microscope to penetrate. "It may be agreed that the dynastic appellations are more convenient stylistic labels to denote certain classes of art products. Even then, the inherent difficulties of dynastic groupings....will remain. Perhaps a more logical, if arduous, way would be to isolate the elements of individual dated art-products and thereafter examine the spatial and temporal spread of these elements. The groups that will emerge after this examination may then be named after the region and period of their currency. In such stylistic groupings, the groups should be given stylistic and not dynastic labels. " 31 31 GHOSH, A., Some Observations on Dynastic Appellations, Seminar on Indian Art', 1962, Lalit Kala Akademi, pp. 9-13.

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308 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME The startling truth of these observations and the wisdom of and foresight behind these recommendations are not amiss, now, when we read and re-read the original proceedings where they are recorded. The application of these suggestions--suggestions so sincere in spirit and scientific in outlook-can, and will provide a sounder and yet elastic as well as easily manoeuvrable frame of reference. We are still not sure what terms we must coin to replace Maurya, or, for that matter, Andhra and Sungan names; those were the times when art and architecture, distinguishable doubtless from region to region to the eyes of an expert, were not so sharply differentiated in much of the outward look throughout the greater part of the subcontinent, or at least wherever such early examples are known to be extant.31a But by Gupta, and more truly in post-Gupta period, the regional idioms had begun to materialize, to develop, and to attain distinctness of expression. From this time on, we can be positive in dissociating art and architecture from dynastic denominations and think of, say, regional terms colligated ineradicably but abstractly with the time factor, the chronological axis. Apply it, for instance, to Western India, with which we are immediately concerned : the results are quite rewarding, satisfying. We begin with the Pratihara period. Two major styles, "concordant in certain aspects because of common age, but otherwise independent since their parental sources differed "2, existed in the last quarter of eighth century : Osian temples and their congeners in upper 31a After this paper was submitted, I came across an extension of Ghosh's original observation which answers my own remark. " The planning of the survey has necessarily been on a regional and chronological basis: it is only on this basis that the spatial and temporal developments of architectural elements can be brought out. This basis, it is admitted, may tend largely to coincide with a dynastic grouping--a tendency to avoid which precautions have to be taken, for art and architecture should reflect something less ephemeral than dynastic vagaries. At the same time, in cases where all or most of the monuments in a group are the direct outcome of the initiative and patronage of the rulers of a particular dynasty, a dynastic appellation of that group would doubtless be justified." Cave temples of the Pallavas (A. S. T. No. 1). 32 DHAKY, M. A., Brahmanasvami temple at Varman, Journal of the Oriental Institute, Baroda', Vol. XIV, March-June 1965, Nos. 3-4, p. 381.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 309 Rajasthan33, and shrines at Roda in Northern Gujarat and their relatives in lower Rajasthan, represent two related but independent expressions of temple architecture. Which one of the two styles shall we call Pratihara? Again, the oldest temples at Citrakuta and Mahanala (Menal) are closely kindred to the temples of the Osia variety, with a few features and nuances that also connect the temples at Roda. Medopata, at this time and for several centuries afterwards, seems to be under the hegemony of the Guhilas, and not, for that matter, the Pratiharas. Let us follow the next case. The Paramaras of Arbudamandala (Abu), Bhillamala, and Jabalipura were ultimately of Malava extraction. But the styles of architecture that prevailed in the tenth and eleventh centuries in the territories ruled by them were related to those that were current in Medapata and Gujarat, and not the one that was followed in the Malava province under the aegis of the Paramaras of Dhara. Incidentally, several different dynasties governed over specific portions of Gujarat; while Medapata, as already stated, was ruled by the Guhilas. In Medapata itself two styles flourished, one akin to Osian as already stated, the other one, in lower territory, nursed a style which aligns with Arbuda and Gujarat. Take, again, the case of temples at Kiratakupa (Kiradu). Who the authors of these temples were, is still not certain. Agreed, Cahamanas as well as the Paramaras occupied this city in the latter half of twelfth century; but the temples in question were already in existence there, the latest being older by three generations than the known facts of history. Kiratakupa temples suggest stylistic affiliations with both upper Rajasthan as well as lower Rajasthan, even Gujarat. What dynastic label shall we attach to them? The examples can be multiplied to demonstrate the futility of the exclusive dependence on dynastic appellations. Instead, a regional classification regulated by a chronological yardstick in relation to historical facts must prove a much more versatile, precise instrument of reckoning. This implies, radically, new approaches to the old problems; alteration of methods, but also of interpretation by which to arrive at more comprehensive, more sensitive, more valid and perhaps more convincing solutions. Western India has figured so often in our discussions. The 33 The details are mentioned in my paper Old Temple at Lamba and Kamesvara temple at Auwa to appear in the Journal of Asiatic Society', Calcutta.

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310 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME geographic sense implicit in the term has to be more specific when cultural meaning is attached to it. For our purpose, it includes two provinces, Rajasthan and Gujarat only. Paranagar in the North, Parol near Bombay 5, Osia and Kiradu on the western-most and Badoli on the eastern extremity are its precise territorial limits as defined by the art-styles. Within the ambit of this definition, Maharashtra remains excluded from Western India. Some scholars include the Deccan in Western India. The Deccan itself, according to these authorities, include Kunkana (Konkan) as well as Kuntala. But Kuntala, along with Karnata, belong culturally with Southern India. If the Deccan means modern Maharashtra, and Maharashtra had, as its heart, the Seunadesa of the mediaeval period, it does not form, as judged from its art and architecture, the part of Western India but stands midway between Malava and Kuntala, possessing at most a few links with Gujarat. The linguistic and racial patterns together with historical happenings and geographical factors, plus the art and architecture draw Rajasthan and Gujarat very close, into one harmonious whole which corresponds with the western part of the subcontinent. Since half a century now, Gujarat has been changing its visage faster than Rajasthan, true. But in the times to which we refer, the bond of unity was much stronger, the equivocality of culture, much harmonical, than would seem on the surface today. Together Rajasthan and Gujarat cover a vast, extensive surface area; which precludes absolute homogeneity despite unity, of cultural expression, or for that matter, of the architectural style. There were, in fact, four distinct styles of temple architecture. The style, the examples of which are the oldest6-the Saurashtra style-was confined to lower Saurashtra and western Kutch exclusively this severe style has its own independent story of evolution as well as of degeneration" and has in fact contributed nothing to the development of the fourth style. 34 As indicated by the old Siva temple there. 35 Parol is at present in Maharashtra State. The old temple here, of early eleventh century, is a perfect representative of the contemporaneous architectural style of Gujarat. 36 These have been discussed in details by J. M. NANAVATI and the present author in their monograph titled The Maitraka and the Saindhava Temples of Gujarat' now in press with 'Artibus Asiae'. 37 Ibid,

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 311 whose importance is paramount to the mediaeval architecture of Western India as we shall have noticed soon. The second style is represented by the temples erected between the latter half of the eighth century to about the end of tenth century in Northern Gujarat, eastern Kutch, and upper Saurashtra, which, together form the Gujarat school followed by the Arbuda school covering as it does a circuit fifty miles wide around the Abu Hills38 and the Medapata school which includes, for our purpose, the lower Mewar only.39 The third great style is represented by the temples in the heartland of the Pratiharas in Marumandala (Marwar) starting from Jabalipura to Ukesa and Medantaka on a two-pronged straight axis and from Ukesa to sakambhari along the transverse axis. Sakambhari was governed by the early Cahamanas who had remained feudatory to the Pratiharas for a long span of time. The second style has been since some time past called by me as the Maha-Gurjara by reason of the fact that its oldest and the more numerous examples are found in Gujarat. The third style has been termed Maha-Maru because most of its examples are known in the ancient Marumandala tract of Rajasthan. The prefix Maha, in each case, denotes that the prevalence did not confine to the territorial limits of their original homeland; they proliferated past their borders into neighbouring tracts, or at least styles with very close kinship arose in such nearby tracts subsumable under the same general style, either the one or the other. The two styles-Maha-Gurjara and Maha-Maru-could not remain insular, uninfluenced from each other for a longer time. Not all at once, but by a slow yet definitely progressing process of osmosis, the two exchanged at first the ideas and next went into 'deep nuptial embrace' whereby each merged into the other and, by the dawning of eleventh century, a fully fused, potential, highly ornate, hybrid but extraordinarily standardized style-the Maru-Gurjara-emerged. This typical new style, with a few local accents here and there suggestive of a stress either on Maha-Maru or Maha-Gurjara blood, spread otherwise homogeneously throughout the greater expanse of Western India. This particular style, the fourth one of our series, was previously known as 38 Possessing inner ambulatory around the cella. 39 A complex miniature sikhara (turret) with andakas anywhere between five and twenty-five worked out in arithmetical progression.

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312 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Solanki style in honour of the dominant dynasty from Gujarat of the self-same denomination who held sway on the major portion of Western India at the height of its power. For reasons mentioned and the premises defined, we shall henceforth call it Maru-Gurjara. The validity of this new nomenclature has been borne out by the studies of U. P. Shah on Western Indian sculptural art; this great authority has arrived at and now favours the self-same threefold classification for the figural art of the Western India of eighth century and after. To the temples now we shall turn, equipped with our new definitions. All the three styles remain represented by the examples we will notice. The temples selected here for description are relatively more important and of these the author possesses firsthand knowledge. I. MAHAVIRA TEMPLE, OSIA Ancient Ukesa, present Osian or Osia, had been a town of some consequence in Pratihara times as well as in later Cahamana period. That is attested by the presence in this town of the now extant thirteen temples of the Pratihara period, being the largest group known at one place of that age in Western India, and by a few more of the later times. To the Jainas the site is of triple significance : it is the centre of nativity of the Ukesavala banias; a town from which Ukesavala Gaccha emanated; and, the oldest Jaina temple now extant in Western India, the sanctuary of Mahavira, exists at this place. Ukesa must have been a very powerful nerve-centre of the Brahmanical as well as Jaina religious activities in older days, bereft though of its original lustre now The celebrated temple of Mahavira is located at the west end of the town. The temple complex comprises a vast Jagati (Terrace) which supports the Main Temple and subsidiary shrines and structures. The Main Temple, northerly oriented, consists of: (1) Mulaprasada (Sanctum Proper) of the sandhara class connected by a kapili (buffer wall) to the (2) Gudhamandapa (Closed Hall) followed by the (3) Trika or Mukhamandapa (Vestibule) provided with a Mukhacatuski (Porch). At some distance in front of the Mukhamandapa is located the (4) Torana and a pair of (5-8) Devakulikas (chapels) to the right and left of the free space between the Mukhamandapa and the Torana. On either side as well as the back side of the Mulaprasada runs a (10) Bhramantika (Cloistered Corridor). Just in front of the Torana is the (11) Valanaka or Balanaka (Entryhall) which is also known as

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SA GARBHA GRHA GUDHA MAN DAPA MUKHA MANDAPA MUKHA CATU.SKT 2 FEET FEET I N Tzz Tesz..CMS Plan of Mahavira temple, Osia

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314 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Nalamandapa by virtue of its construction above the principal stairway of the Jagati. A subsidiary entrance with an (12) Ubhayamukhi Catuski (Bifacial Porch) is located on the east, and just near the eastern extremity of the Valanaka. The Valanaka is connected with a (9) Devakulika at its eastern walling. (1) Mulaprasada The Mulaprasada, about is 7.77 M wide, is a square of tri anga on plan and thus has three proliferations-the bhadra (central offset), pratiratha (juxta-buttress), and karna (corner)-in the proportion of 4.4 1 2. The elevation (Figs. 1 and 2) covers three divisions: the pitha (socle), kati (wall face) and the sikhara (spire). The pitha comprises a sequence of six bold, heavy, and neatly cut mouldings commencing from a large bhitta (stylobate), a wide antarapatra or kandhara (fillet) followed by a kapota (cornice) decorated with closely set candrasalas (caitya arches) alternating with half lotuses. Next comes a second, less wide but likewise plain antarapatra: and finally tops the vasantapattika, that is, a band, carved in this instance, with what seems a degenerated acanthus scroll. The kati is made up of three parts: vedibandha (podium), jangha (entablature) and a dvistara varandika (bistriated principal cornice). The vedibandha possesses the normal sequence of five mouldingskhuraka (hoof), kumbha (pitcher), kalaka (torus), antarapatra, and kapota-where, however, the antarapatra is of meagre proportions. The kumbha of each of the bifacial karna on the rear is decorated with niched divinities such as two-armed Kubera, a two-armed Gajalaksmi (?), Vayu, and a mithuna (couple). The kapota shows kalikas (buds) in suspension, a feature adopted from wooden architecture, the parallels of which are known from the older temples in Bhubaneshwar in Orissa. and Roda in Northern Gujarat. The karna-jangha shelters the twoarmed Dikpalas (Regents of the Quarters)-Indra, Agni, Yama and Nirrti-in framed niches, each one topped by an archaic udgama (pediment). All the three bhadras (balconied windows) substantially project out. The vedibandha here is replaced by handsome, square vaseand-foliage pillars, the intervening space between which is occupied by a rajasenaka (deep fillet) decorated with perforated and grooved double axes followed by a vedika (balustrade) carved with rich, gracefully flowing vines and geometric patterns capped by an asana-pattaka (seat). The void above is blocked by the stone trellises thrown into boxes. The grille in the west bhadra, with a different motif in each.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 315 box (Fig. 3) is particularly pleasing. The upper end of the kati is marked by a padmapattika revealing a chain of half lotuses. This feature is known in several Brahmanical shrines at Osia itself and at Roda in the case of Temple I. Above this lotus band comes the varandika formed by two cornices in between which is a deep kantha (fillet) decorated with palmette design. The sikhara above the Mulaprasada, in the elaborate MaruGurjara style, is not the original one. It is constituted by karmas, stngas (turrets), urahsrngas (leaning half spires) and the central mulamanjari (main spire). The normally seen rathika (framed panel) in the bhadra portion of the sikhara is substituted here by a projected gavaksa (balcony) which seems a very early and so far known the only one precursor of that feature so commonly met in the fifteenth century examples in Western India.40 (2) Gudhamandapa The Gudhamandapa, which is 10.65 M wide, is likewise square but dvi anga on plan and hence possesses only two projections-bhadra and karna (Fig. 1). In elevation it shares the mouldings of the Mulaprasada upto varandika. The karna-kumbha on the front is ornamented with niched figures of the.pairs of Yaksa and Yaksi and on the west with Kubera. The jangha on the front karna shows niched figures of Sarasvati and (3) Parsva Yaksa41 on the left one and Acchupta and Apraticakra on the right one. The rear karna jangha of the Gudhamandapa has a sunk niche (now vacant) on either side. The superstructure of the Gudhamandapa is a tribhuma phamsana (three tiered pyramidical roof) of great beauty and consistency. Its prahara (base) is formed by a rupakantha (astragal with figures) which shows dancing vidyadharas and gandharvas playing musical instruments in discrete panels. The rupakantha is capped by a chadyaki (hood) followed by an antarapatra carved with chequer pattern. Each of the four corners of the phamsana at this stage is surmounted by a graceful 40 The study of the extant temples, strangely enough, does not reveal the presence of such gavaksas in the sikhara dating before the fifteenth century. In the late instances, however, the gavaksa is seen supported by madalas (struts) not found in the Osian antecedent. 41 The attributes of this two-armed Yaksa are missing; but his head is canopied by a seven-hooded cobra.

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316 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME srnga. Each of the two bhadra balconies is topped by a parikarma-yukta rathika 42 harbouring Kubera on the west and an unidentified Yaksa on the east. A sikharika flanks on either side of the rathika.43 From the centre of the first tier of the phamsana projects the urahphamsana above the eastern and western bhadra and it is flanked on either side by half simhakarna (pediment). An antarapatra decorated with a check pattern intervenes between the first and the second tier: The east, north, and the west face of the tier shows a simhakarna flanked on either side by its half replica. The framed panels locked in each of the three central simhakarnas contain a seated Jina figure on the east and west and Kubera on the north. Each of the four corners of this tier is decorated with a very elegant karna kuta rendered as an aedicule of the complete shrine with a phamsana superstructure. Once more an antarapatra finds its place, now decorated with ratna (diamond) in panels. Next comes the third tier with a single simhakarna projecting from the centre in each direction. A seated Jina figure is placed in each one in the middle of the mesh. Now comes a shorter, plain antarapatra and the skandha vedi (covering slab), a short griva and the boldly fluted ghanta (bell) crowned by a kalasa (pitcher-finial) which may not be original. (3) Mukhamandapa The socle of the Mukhamandapa has suffered extensions in recent times, which mask the original contour completely. The free standing pillars over this pitha support the phamsana superstructure above, which harmonizes beautifully with the pharsana of the Gudhamandapa. It is two tiered and graced at the open corners by prasadikas (miniature temples). The figures in the three panels of the simhakarna on the east are obscured by plaster coatings. A Yaksi with a lion vehicle is discernible in the central panel. The corresponding panels on the north reveal the three Mahavidyas-Gauri, Vairoty, and Manasirespectively. The western phamsana, on the north face, shows the seated figures of Yaksi Cakresvari, Mahavidya Mahakali, and Vagdevi. The west face shelters Mahavidya Manavi flanked on either side by a Yaksi which cannot be identified on the strength of the known texts. The two tiered phamsana of the Mukhacatuski is crowned by an unfluted ghanta; its corners are relieved by Nagara-kutas. The three panels in each of its three pediments likewise enshrine divinities. The 42 Framed panel. 43 At Roda, in Temple VII, we notice miniature phamsana instead.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 317 east face presents Mahavidyas Kali and Mahamanasi and (?) Varuna Yaksa; the north face has the figures of Yaksa Sarvanubhuti, Jina Rsabha, and Yaksi Ambika; the west face shows Mahavidya Rohini with an unidentified goddess on its either side. The kapili connecting the Sanctum Proper and the Closed Hall has the same elevational mouldings as the latter two. The kumbha here is figured with Sarya on the east side and an unidentified goddess on a corresponding position on the west. On its jangha stands Isa on the east and Varuna on the west. Above its varandika is placed a large Icarmi or prasada putra, the only early instance of that feature that was to be most popular in the fifteenth century and subsequent times in Western India. Turning now to the interior : the tri anga garbhaglha (cella) is plain and relieved by three large, principal niches which are now vacant. The details of its richly embellished doorframe are concealed under the recent layers of colours and glass inlay work. The engaged pillars on either side of the doorframe and the two free standing, in their alignment in the mukhalinda (antarala), are of the Bhadraka class. The ceiling of the mukhalinda as well as that over the bay joining the sala (nave) is masked by recent, shrill coloured inlay work. The niche in each of the two mukhalinda walls, is now vacant. The four pillars of the sala represent a variation of the Rucaka (square) class with cut-off corners. The vase-and-foliage members, nagapasa with a naga in half human form at the corners, and bold grasamukhas garnish these pillars. The pilasters of the bhadras in parsvalindas (aisles) are almost of the same type, but shorter and thinner. The ceiling above the sala is of the Nabhicchanda (concentric) order formed by archaic gajatalus. Inside the bhadra balconies are framed images of the Jinas installed during later Cahamana Period. In all, there are ten deep-sunk niches, now vacant except the two, in the walls of the Gudhamandapa. The last-noted two niches, one on each limb of the bisected south wall, contain respectively the Dikpala Kubera, and Vayu, thus completing the sequence of eight when counted along with the six carved on the outer wall of the temple. In fact, this interior northern wall seems the theoretical fourth wall complementing the three exterior walls as per the tenets of the Maha-Maru style. The complex surasenaka (bisected caitya arch) surmounting each niche in the Gudhamandapa, enshrines a divinity. Excepting the two niches (in east and west wall) where the figures are obscured by the carved and panelled walls of the cabinet-like khattakas, and the two

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318 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Dikpala niches in the south wall, which are narrow, the order of the images as one perambulates from north-east to north-west is Rohini, Vairotya, Mahamanasi, and Nirvani. The large panel above the architrave in each bhadra shelters an image of Jina Parsvanatha with attendants. A rupadhara (figural belt) bearing a series of figures in panels, such as, perhaps, Parents of Jina, run along the upper end of the walls of the Gudhamandapa. The broad trisakha doorframe of the Gudhamandapa has the bahyasakha (outer facia) decorated with lotus leaves; the central one, the khalvasekha, is decorated with jewelled buckles. The inner facia has been left plain. The pilasters flanking the doorway show respectively the figures of Ganga and Yamuna above the brackets. In a rathika above the door is enshrined the image of Jina Parsvanatha. A rupadhara is stretched along the upper edge of the wall. The pillars of the Mukhamandapa reveal the vase-and-foliage order at its finest. With slight variation, such as the presence of vidyadhara belt, their decoration broadly conforms to the one noticed on the pillars of the Gudhamandapa. They are six in number, four in one row plus two of the Mukhacatuski in front. The pair of pillars that confronts the door of the Gudhamandapa, possesses extra figural decoration on its upper portion. One cf the two, just above the kumara sirsa (atlantan bracket), shows Yaksa Sarvanubhuti; the other one, on the correspoding position, carries what could be a form of Parava Yaksa. The space between the four pillars of the Mukhamandapa and the wall of the Gudhamandapa is covered by a wide, prominently ribbed kola course simulating timber construction such as exactly paralleled in Harihara Temple No. 3 at this place. The form of the kola is, however, quite distinct from the one known in Maha-Gurjara temples. (4) Torana The Torana (Fig. 4) in front of the Mukhamandapa is a distylar monument erected, according to the epigraph on its lintel, in 1018. Each one of its two pillars stand on a mahapitha of the traditional Western Indian sequence of mouldings current during the Mediaeval period. It thus shows, after the bhita, a chajjika (rooflet), jadyakumbha (inverted cyma recta), once more a chajjika, followed by a grasapattika (band of kirttimukhas), gajapitha (elephant course), and narapitha (human course). The kumbha of the kumbhika (base) of the shaft shows seated and niched Jina figures on all its four faces. On its jangha

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 319 above, stands a figure of Jivantasyami Mahavira in a finely carved niche on all the four faces. The shaft proper starts with an octagonal belt containing eight panels, each one bearing a seated Jina figure. The belt with sixteen faces above shows crisply carved, flaming leaves with a vidyadhara bracket on each one of the four cardinal points. The circular section which now follows, shows a rupadhara (figural belt), a vine pattern, and the grasapattika followed by bharani (abacus) and taranga sirsa (roll bracket). The lintel above is featured with a vine design and a band of half lotuses. The kutacchadya (ribbed awning) covers the top of the lintel. A tilaka crowned by a ghanta is placed at each of its two extremities; while, in the centre, a large tilaka showing addorsed Jina figures serve the dedicatory purpose of the Torana. A large peacock turning its head to the back is placed on either side of the central tilaka; similar smaller ones occur at the extremities beside the tilakas there. Over the tilakas is thrown a graceful andola-malika in lieu of the illika-valana we commonly notice in Gujarat examples. (5-8) Devakulikas The two pairs of Devakulikas, one to the east (facing west) and the other to the west (facing east) seem at first sight exactly alike; the differences among them of details, despite the sameness of plan (a tri anga Latina-ekandaka-shrine with a mukhacatuski) and size, the shrine in each case being 3.048 M in diameter. The northern Devakulika (No. 1) of the eastern pair possesses a pitha with an almost ideally complete set of mouldings. Above the kharasila (foundation cap) carved on the face with half lotuses, comes bhitta decorated with half diamonds followed by jadyakumbha carved with simple lotus leaves; at each of the three bhadras is found an udgama motif soldered with jadyakumbha as found with the earlier temples at Nadol. Now comes karnika (knife-edged moulding) followed by grasapattika, chajjika, gajapitha, and ncrapikha. The northern Devakulika of the eastern pair possesses a pitha with an almost ideally complete set of mouldings. At each pratiratha, the kumbha of the vedibandha shows half lotus as in the earlier temple-of Navalakha Parsvanatha--at Pali. The kumbha at each bhadra shows a figure of a Vidyadevi; Rohini, Acchupta, and Vairoty, can be identified. Kumbha on one of the karnas shows figure of Ambika. Kumbha on the southern kapila shows Brahmasanti. Yaksa. The corresponding northern one shows Yaksi Cakresvari.

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320 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME The jangha displays Dikpalas on the karnas and apsarases on the pratirathas as well as in salilantaras (recesses). The apsaras Sucismita (holding a mirror) on the northern pratiratha is a superb piece of chiseling. The salilantara beside shows apsaras Menaka with capa and dhanusa. The jangha on the either kapili shows the standing figure of Jivantasyami. The three principal niches in the bhadras harbour seated Jaina images with parikaras; that on the south (Fig. 5) is of Parsvanatha; the one on the east may be identified as Mahavira. Above the jangha of the wall comes the bharani (capital) followed by bistriated varandika and the kutacchadya. The superstructure of the shrine is formed by a Latina sikhara. The mukhacatuski of the Devakulika shows vase-and-foliage pillars and a Nabhicchanda ceiling. The trisakha doorframe shows patrasakha with undulating creeper, rupastambha flanked by bakulika followed by bahyasakha carved with lotus leaves. The rupastambha shows figures of Vidyadevis; among them Vajrasonkhala, Vajrankusi, Apraticakra, Acchupta and Kali may be identified. The uttaranga architrave of the doorframe shows Jina figure in the centre as well as at the extremities : in between the latter, once again, the images of Vidyadevis such as Naradatta, Kali, Gauri, and Gandhari may be discerned. Above the mukhacatuski is found samvarana (bellroof) now partly restored. The second Devakulika (No. 3) of the eastern pair is even more ornate than the last one. Its pitha is similar to the last one except that the jadyakumbha shows elaborately carved leaves such as at Somesvara temple at Kiradu. The narapitha here includes Jina-kalyanakas, and incidences and scenes showing marriage procession of Neminatha. The kumbha of the vedibandha is heavily ornamented showing a thin grasapattika with manibandha (jewel band) together with deeply carved ardharatna (half diamond) on pratirathas, and elsewhere figures of Vidyadevis. At the shoulder, the kumbha is decorated with indented asoka leaves. The Vidyadevis include Naradatta, Gauri, Rohini, Mahamanasi, Vajrankusi, Vijrasonkhala, and Gandhari : Heramba is spotted at one place in lieu of Vidyadevi. The bhadra niches of the jargha are vacant. The karnas as usual reveal Dikpala figures while pratirathas and salilantaras display a psaras figures. The pitha mouldings of the mukhacatuski of this temple show some variation. Above the chajjika comes ghantamala, rajasenaka, vedika, lattice, and pillars of the vase-and-foliage order such as are

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA: 321 known in the temples at Chohtan. The lintels supporting the ceiling betray typical diamond-and-double volute pattern such as known. from the porch of the Sun temple, Mudhera. The ceiling itself is of Nabhicchanda order. The pair of pillars shows finely carved camarabearers on their frontage. The pancasakha doorframe comprises patrasakha with a deeply carved foliate scroll, rupasakha, rupastambha, again rupasakka, and lastly the bahyasakha showing a variant foliate scroll. The rupastambha panel harbour Vidyadevis, four in either instance Rohini, Prajnapti, Vajrasrnkhala, Manasi: and, Acchupta, Vairotya, and Yaksi Nirvani etc. The uttaranga harbours Parsvanatha in the centre flanked by. three seated Vidyadevis on either side; among them Cakresvari, Rohini, Mahamanasi and Manavi may be discerned. Samvarana with three rathikas tops the porch. The northern Devakulika (No. 2) of the western pair (Fig. 7) is almost a duplicate of the Devakulika No. 1 in the eastern pair. The jadyakumbha of its pitha, however, does not show udgama motif on bhadra points; and, in mukhacatuski section, chajjika is followed by grasapattika. The Vidyadevis, Yaksis and other Jaina goddesses on the kumbha faces of the vedibandha include Sarasvati, Naradatta, Mahakali, Vairotya, Cakresvari, Acchupta, Ambika, Vajrasrnkhala aad others. The jangha shows the usual Dikpalas and apsarases. Jivantasvami too is found on the kapili parts. The bharani above the jangha is round and decorated with leaves in suspension. The pillars of the mukhacatuski show camara bearers as in the last-noted example. They support a Nabhicchanda vitana. The pancasakha doorframe displays a deeply carved creeper on its patrasakha; the latter is followed by a rupasakha, rupastambha, a rupasakha yet again, and bahyasakha with a beautiful creeper. The Vidyadevis on the rupastambha include Prajnapti, Vajrasrnkhala, Vajrankusi, Cakresvari, Nirvani, Acchupta, Vairotya and one more who cannot be identified. The Jina figure is as usual found in the central panel of the uttaranga. The Vidyadevis here include Mahamanasi, Mahakali, Rohini, Acchupta and others. The Silchara above the shrine proper is of the Latina class similar in details to that of No. 1. The rathikas of the sammvarana or the porch harbour seated Jina figures. G.J.V. 21

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322 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME The neighbouring Devakulika (No. 4) has a pitha similar to the last-noted one. The kumbha of the vedibandha, as in the previous instances, shows Vidyadevis etc. on the faces. These include Mahamanasi, Manasi, Acchupta, Vairotya, Mahakali, Manavi, Cakresvari, Vajrasrnkhala, Prajnapti (?), Rohini, and Brahmasanti Yaksa. The jangha, besides the usual divinities, shows Sarasvati and Cakresvari on the corresponding positions at kapili parts. The bharani above the jangha is square with leaves in suspension. The mukhacatuski possesses the usual Nabhicchanda vitana. The doorframe is likewise of the normal pancasakha type. The Vidyadevis as usual grace the rupastambha and the uttaranga. On the former they are in order, Rohini, Vajrasrnkhala, Vajrankusa, Vairotya, Acchupta, Manasi, and others; on the latter are seen Cakresvari, Rohini, Mahamanasi and so forth. The samvarana above the mukhacatuski is the most perfect example of the kind. In its rathikas, in each of the three instances, a seated Jina figure comes to view. (10) Bhramantika Behind the Main Temple runs a corridor with about eight pillars in its southern sector, which are, as suggested by their form and details of carving, akin to those known from the main Temple itself. The eastern and the western extensions are of later times; each one, almost in its middle part, possesses a Devakulika (No. 6 and 7) with a sikhara stylistically assignable to late eleventh century. (11) Valanaka A few meters north of the Torana is situated a large Pavilion built over the stairway and the subterranean chambers located on either side of the latter. Although this Hall suffered renovations in antiquity by causes yet unknown it still retains much of the original structure intact. Its dimensions are fairly generous for that age, a rectangle of about 15.85 M x 7.32 M with extensions to the north made at a later period. Its south face, which confronts the Torana, is semi-open with some fragments of the original mattavarana (seat-back) with a gajamunda (elephant head) found still in situ. There are twenty-six free-standing columns in the Hall arranged in four rows; except those of the central octagon which support a large karotaka (ceiling), the rest are original, contemporary with the Main Temple and probably undisturbed.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 323 The pillars of the central octagon are like those seen in Devakulika No. 4 here. Lintels supporting the central ceiling reveal a degenerated diamond-and-double volute pattern. Above the octagon comes a polygon of sixteen sides followed by karnadardarika (cyma reversa with arris), rupakantha (figural belt) with sixteen apsarases standing on large lumbikas (inverted bells) against the background of the three kola courses, the latter followed by four gajatalu courses, where each gajatalu is of the quadruple variety, and finally in the centre a small padmakesara (stamenal tube). Carved in the east part of the north wall are two old niches one of which bears an inscription declaring the renovation of the Hall by one Jindaka in 956. There are other large niches sunk in the east and west wall but of little consequence. A Devakulika (No. 5) attached to, and having its opening in the middle part of the east wall within the Hall deserves a closer examination. The tiny, faceted pillarets of its porch lie only slightly behind the alignment of the engaged pillars of the east wall. The Devakulika in question (Fig. 6) is smaller by about 25 cms in diameter than the four described in the foregoing pages. It also differs in some of its elevational features. Above the kharasila, the pitha is supported on a bhitta showing half diamond and thakarika decorations; it is followed by a chajjika, jadyakumbha, karnika, and vasantapattika sarved with a scroll. The kumbha of the vedibandha shows half lotuses and ardharatna motif carved in bold relief. The divinities on the jangha include Dikpalas, apsarases such as Sucismita and Putravallabha, Jina images in the three principal niches where Parsvanatha may be identified in the back one, and lastly, the standing image of Sarasvati in each of the two kapili faces, in a specially designed niche crowned by a phamsana pediment in lieu of the normal udgama. Vyalas are noticeable in the salilantaras. A part of the jangha on the east is badly damaged; at this place three images are missing. The Latina silchara, partly restored, is carved with the grooved jala work. (12) Ubhayamukhi catuski This double porch, opening inside as well as outside on the east near the eastern extremity of the Valanaka, possesses a pair of boldly carved, very old pillars on either side. The ceilings demonstrate a vigorous, full-blown, large lotus in each case.

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324 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME M . The original date and the chronology of different structures associated with the temple of Osian Mahavira have so far remained in confusion. Jaina writers of the middle ages were themselves in darkness. The Upakesa gaccha pastavali postulating fifth century B. c. for the cult image and the town of Osia is nothing but mythical. On the strength of all available historical and archaeological evidences, Osia, it would seem, did not exist before eighth century. Kakkasuri in his Nabhinandana Jinoddhara (1337) mentions that the temple was founded in 961, a statement also paralleled in Oswal utpati.44 But that date is nearer to the one of the Jindaka's renovation of the Valanaka and not applicable to the foundation of the Main Temple. . The writers of the present century are only a little more informed than the mediaeval chroniclers. BHANDARKAR's observations, the earliest ones available, may be examined at the outset. "The temple is, like most ancient Jain temples, enclosed both at the sides and the back by a raw of subsidiary shrines, which, to judge from their style, are not contemporaneous with the temple but belong to tenth century. They were probably constructed at the time when the nal mandapa was repaired by Jindaka."45 The Devakulikas are doubtless late; but the matter is not so simple at that. None of them seems to be of Jindaka's time; they belong to different dates as we will have demonstrated soon. Commenting on the sikhara of the Main Temple, BHANDARKAR observes: "The spire of the temple has obviously been rebuilt with the old materials. I gathered from the villagers that it was in ruins a hundred years ago, and was rebuilt of fallen pieces. This is also seen from the fact that under amalasara there is a human face on each of the four sides, a characteristic found in almost all modern temples in Gujarat and Rajasthan.'46 A closer examination of the sikhara reveals facts which contradict BHANDARKAR'S deductions in their main part. The sikhara is for certain old, though not original. It is a replacement at some date in the early eleventh century for an eighth century superstructure. This is proven by the jala type, the andaka types (which include karmassngas), gavaksas, etc. In fact KRISHNA DEVA who surveyed this temple very thoroughly in about 1959, had reached the same conclusion. 44 SHAH, AMBALAL PREMCHAND, 'Jaina Tirtha Sarva-Samgraha', Vol. I, pt. 2, (Gujarati; 1953), p. 173. 45 BHANDARKAR, D. R., 'Annual Report of the Archaeological Survey of India'1908-9, (Calcutta 1912), p. 108. 46 Ibid.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 325 We shall not dwell on OJHA's statements which follow BHANDARKAR and which are not very clear in contents. There is yet another authority who recorded his observations on this temple. PERCY BROWN thus writes: "It appears to have been first built at the end of eighth century, and then repaired and added to in the tenth century, so that it is a record of development over two periods. This is shown by the changes in style of the building throughout, but particularly in the character of the pillars, in which it is possible to compare those of the mandapa belonging to the original structure with the latter example in the second porch; this latter apartment or nal mandapa is so called because it was erected subsequently over the nal, or staircase, leading into the interior of the building. To add to the history of this temple, the torana or entrance archway appears to be even a still later addition, probably made in the eleventh century. In this one building alone, therefore, it is possible to follow the course of the style over a period of several centuries."47 TO PERCY BROWN's observations following corrections may be applied: the Main Shrine suffered no renovation except replacement of the sikhara in the eleventh century; there are thus no changes throughout the style of the building;48 the nala-mandapa still possesses considerable material that is original, of the eighth century and in situ. PERCY BROWN's complete silence on the Devakulikas is intriguing and unless these be added, it is not "possible to follow the course of the style over period of several centuries". The sequence of constructional activities in this complex can be visualized on the strength of the detailed style-critical analysis seconded, wherever known, by epigraphic evidences. Accordingly, following stages seem to have ensued. The Jagati with its eastern Ubhayamukhi Mukhacatuski, the Valanaka, the Main Temple with the Mukhamandapa, and the southern part of the Bhramantika were built at one time; that is when Vatsaraja Pratihara ruled according to Jindaka's inscription. All these structures follow the Maha-Maru style in its virginal purity. They are the oldest in this complex. Jindaka repaired the Valanaka in 956. Before his times, perhaps, the 47 BROWN, PERCY, Indian Architecture (Buddhist and Hindu Periods), Second Edition, p. 140. 48 SHRI KRISHNA DEVA has very carefully examined this temple. His own conclusions on this issue are exactly the same. He visited the Osia group of temples some years previous to my own visit.

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326 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME north face (confronting the town) of the Valanaka may be semi-open as its south face is. He closed it and caused the niches to be built in the wall so formed. A generation later, Devakulika No. 5 was erected and shunted to its eastern walling. It now followed the Maha-Gurjara style with a few features of late Maha-Maru, such as the jala of the sikhara. The pitha, the jangha with vyalas, are all after the Maha. Gurjara tradition. During the late tenth century, Maha-Gurjara style had crossed its traditional frontiers and entered into Marumandala via, perhaps, Pali to which we shall refer later. In fact in this Devakulika, the two styles meet but Maha-Gurjara tends to dominate. At the next stage, in 1018, the Torana was set up. It is precisely at this time that the present sikhara of the Mulaprasada of the Main Temple was built, and Devakulika No. 1 and, soon after, No. 2 (confronting each other) were erected. The figural carving on the Torana and that on the latter Devakulikas, particularly No. 1 closely agree. The style of all these structures is what we should call the early Maru-Gurjara, the more perfect example of which is Devakulika No. 3 erected possibly a decade hence. The Devakulika No. 4 was to be added as late, perhaps, as the end of eleventh century as suggested by its coarse carving when the Bhramantika was extended along east and west with its two embedded Devakulis (Nos. 7 and 8). At this time or perhaps a little later, the central twelve original pillars of the Valanaka were replaced by eight new ones in a different style for supporting a new great ceiling of the typical Maru-Gurjara tradition. The extensions of the Valanaka were also made during this time. The history of the temple thus covers three centuries of building activities. The contribution of this Osian complex to the study of Jaina art and architecture is significant as its initial landmark as well as for the wealth of information and artistry it reveals. The Main Temple, a fine piece of Maha-Maru architecture, reveals the oldest example of Jaina kind of Trika or mukhamandapa (chacauki). Its rich treasures of Jaina iconography are the earliest so far known in the context of temple decorations. The Devakulikas themselves are little masterpieces of architecture and demonstrate a further development of the Western style in the making; at the same time they are illustrative of progress made in Jaina iconography. The fact that they were absent in the eighth century and that they are fewer in number and placed discretelynot in coalescence-may indicate that the Jaina way of temple planning was unknown in eighth century and was not effected even in the early eleventh century since inconsistent with the original plan. The

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 327 rangamanqapa (dancing hall)-the glory of the Jaina temples-had not yet materialized. For noticing further development in Jaina way of temple planning, we must turn to Varman.49 II MAHAVIRA TEMPLE, VARMAN Varman, Brahmana of the mediaeval epoch is today famous for its ruined temple of the Sun. To the Jainas in the Middle Ages it well-known as a seat of the Brahmana gaccha and for the old sanctuary of Mahavira. The temple, unfortunately, 'had suffered repeated renovation as well as damages. Two at least can be discerned on epigraphic evidences, one in 1186 and the other in 1390. The Mulaprasada is original but relatively unpretentious and in elevation starts directly from the vedibandha. The ranga-mandapa, of no consequence, was added during the second renovation and restored more than once afterwards. The Bhramantika once possessed the traditional twentyfour Devakulikas with colonnade. The cells have disappeared but the basement of the corridor is still discerned in north and south section. Some of the old pillars of these have been re-erected (Figs. 8 & 9). The eastern corridor possessed two samatala ceilings, one carved with Ambika, the other-inscribed one-of similar workmanship is dated to 1186 and shows the figure of Gajalaksmi. Commenting on the latter, SUKTHANKAR averred that the original temple is probably not older than this sculpture.50 This is contrary to the facts revealed by the closer examination of the material in the temple. The mouldings of the Sanctum are certainly very old. The door frame mith its powerful rupastambha is likewise old. The image of Mahavira (smaller one) is a fine example of the Maha-Gurjara art of the late ninth century as ascertained by U. P. SHAH. The older pillars illustrated here, though smaller, are comparable in details and style to those in the Sun temple of the late ninth century in Varman itself.51 The importance of the Mahavira temple at Varman lies in its illustration of the earliest archaeological evidence for twenty-four Devakulikas which once it possessed contemporaneously with the Main 49 Literary sources speak of a Cauvisa jinalaya founded sometime in the ninth century at Denduanaka in Marumandala. 50 Progress Report of the Archaeological Survey of India, Western Circle', 1917, pp. 71-72. 51 Cf. DHAKY (1965), Fig. 2.

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328 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Temple. This agrees with the literary tradition of Yasobhadrasuri having founded Cauvisa Jinalaya at Denduanaka (Dinduana) in Marumandala at about the same time. III MAHAVIRA TEMPLE, GHANERAV Ghanerav is situated in the Gorwad area of Rajasthan. To the four miles east, south-east of the town is located the temple of Mahavira famed in local legend and well-known as an important Jaina centre of pilgrimage, one of the five holy tirthas, in this part of Rajasthan since the mediaeval times. The temple complex, as at Osia, faces north and comprises a Mulaprasada connected with a Gudhamandapa articulated with Mukhamandapa followed by a Rangamandapa surrounded by twentyfour Devakulikas. The whole complex is perched on a low Jagati which supports a Prakara (Enclosure) at its top where the Devakulikas end. The Main Temple is of a sandhara class and dvi anga on plan where karna and the bhadra proliferate. Each balconied bhadra of the Mulaprasada as well as of the Gudhamandapa is fitted with grille mixed with vyalas and heavenly minstrels. The Mulaprasada and the Gudhamandapa are of equal width which is 8.52 M and are connected through a narrow, recessed kapili (Fig. 2). The total length of the whole temple upto the stairway of the Mukhamandapa is 18.38 M, almost of the size of the Sun temple at Varman. In elevation, the temple has a basement that includes both the pitha as well as vedibandha as is known in the case of Somanatha Phase I Temple at Prabhas, Lakhesvara temple at Kerakot, Laksmana temple and two others at Khajuraho and still earlier temples such as Sonkansari No. 2 at Ghumali in Saurashtra and Brahmanasvami temple at Varman. The consecutive mouldings above the double course of bhitta are jadyakumbha, kumuda (torus), antarapatra, and pattika, all boldly shaped but undecorated. The vedibandha above is equally plain. The basement harbours a niche below the centre of each balconied window. Corresponding to the five balconies-two of the Gudhamandapa and three of the Mulaprasada--there are niches in equal number. They enshrine Jaina gods and goddesses. Perambulating from east to west, they are in order Padmavati, Cakresvari, Brahmasanti Yaksa, Nirvani, and Gomukha Yaksa.51 The jangha of the wall shows Dikpala figures, very boldly carved, on the karnas. They stand in framed niches uplifted by bharaputrakas as at Trinetresvara Temple near Than. . The ninth and the tenth

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GARBHAS GRHA MUKHA LINDA GUDHA MANDAPA VS MUKHA MANDAPA -- MUKHA CATU ---- --- -- ABOVE BELOW Isanapattaka Asanapattaka FEET 2763 226MS Plan of Mahayira temple, Ghanerav

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330 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Dikpala-Brahma and Ananta-never depicted in a temple are, it is interesting to note, found here on wall pilasters in the Mukhamandapa that stand in the immediate vicinity of the karnas of the Gudha. mandapa. In the salilantaras stand vyalas on gajamunda brackets. Above each vyala is seen a gandharva figure. (Figs. 10 & 11) At the balconies, in lieu of jangha, is found a different set of mouldings: this commences from a rajasenaka showing figures in panels followed by vedika showing foliate scrolls and female attendant figures, topped by a double course of asanapattaka and next the kaksasana (seatback) most beautifully carved with figural motifs and vegetal creepers. Above this comes the lattice thrown in between simple dwarf pillars. The superstructure of the Mulaprasada as well as of the Gudhamandapa is not original. The varandika below the superstructures, though simple, seems old. The Mukhamandapa (Fig. 12) shares the basement upto the top of the pitha but above it is placed a broad and deep rajasenaka as high as the kumbha of the vedibandha of the Gudhamandapa. The level of the floor of the Mukhamandapa is thus lower than that of the Gudhamandapa. The rajasenaka here shows figures of Vidyadevis such as Vairoty, and gandharvas and a large kumbha-purusa on the north and the south side now replaced by a modern copy. The six free standing and four engaged pillars (barring those of recent extensions) are original and of Bhadraka class such as seen at Trinetresvara temple near Than. The staircase of this mukhacatuski bears a large panel on either side of the steps harbouring Vidyadevis, one of whom is Vajrankusa.52 The ceilings of the Mukhamandapa are very important for the varieties they reveal. That of the mukhacatuski is a lenticular Nabhicchanda type (Fig. 14): it is of the kind known at a similar location in such earlier temples as Brahmanasvami temple at Varman, Kamesvara temple at Auwa, and Maladevi temple at Gyaraspur, the last one in Central India. The ceiling immediately above the door of the Gudhamandapa is of the samatala kind showing figural work in boxed frame and a central medallion with divinities (Fig. 13). Variants of this type are known from Siva temple at Kotai and a few other places.53 52 As against the attributes prescribed in the texts, Gomukha Yaksa shows vara, padma, and kalasa. Brahmasanti Yaksa holds varada ksa, padma, chatra, and kalasa. 53 NANAVATI, J. M., and DHAKY, M. A., The Ceilings in the Temples of Gujarat, Bulletin of the Museum and Picture Gallery, Baroda', Vols. XVI-XVII, Fig. 7, p. 45.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 331 The one on the right as well as the left bay is of the Nabhicchanda class with gajatalus in linkages (Fig. 15) and is a precursor of those known from the Sun temple (1027) at Modhera.54 On either side of the doorway of the Gudhamandapa is found a well-embellished khattaka showing bharaputrakas, gagarakas and kamarupa at its base and a double, deeply grooved udgama above. The engaged pillars on either side of the door show respectively a figure of Ganga and Yamuna above the base. The Doorframe comprises patrasakha carved with undulating creeper, followed by a rupasakha mixed with vyalas followed in turn by rupastambha, bahyasakha with lotus leaves, and ratnasakha with bakulika on the side and naga at the bottom. The rupastambha on either side bears six goddesses in panels; on the left are Rohini, a two-armed goddess bearing a trident, with peacock as her vehicle, Vajrasrnkhala, Vajrankusa, a divinity showing abhaya, pasa, ankusa and mudgara with tortoise as the vehicle and tricephalous snake above the head, and lastly Yaksi Nirvani or Mahalaksmi (since the lotuses in the hand show elephant); on the right are Mahalaksmi, Manasi, Acchupta, Vairoty, Vajrankusa and Yaksi Ambika. Those on the architrave seem more retouched than the ones on the jambs. Inside of the Gudhamandapa is sombre. Above the central octagon formed by faceted pillars is found a Sabhamarga vitana (Fig. 16). It starts with a karnadardarika decorated with indented leaves, followed by grasapattika, rupakantha, kolas ending in gagaraka or naga, two more courses of kola, followed by a gajatalu course, a dardarika, once more gajatalu course, and lastly a gajatalu with padmakesara in the centre. In the rupakantha are seen nayikas on elephant brackets in lieu of vidyadhara brackets, a convention known from several schools in Rajasthan but unknown in Gujarat.55 The diameter of the Ceiling is 4.10 M. The inner sanctum, dvi anga on plan and 3.35 M wide, has three niches on the central offsets, now vacant. The doorframe is similar to the one of the Gudhamandapa. The Vidyadevis and Yaksis on the 54 Ibid., Fig. 32. 55 In Gujarat, in most cases, the Vidyadhara is found; in a few cases, lumbika brackets are also known. The oldest example of the former is seen in the ceiling of the Rangamandapa of Muni Bawa temple near Than datable to the third quarter of tenth century.

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332 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME rupastambhas are: Rohini, an unidentified divinity (with trident, lotus, citron fruit, and peacock as its vehicle), Nirvani, Vajrankusa, Cakresvari, Mahamanasi, Manasi, a goddess with boar vehicle and shield, sword, etc. as her attributes, Vairotya, and Yaksi on bhadrasana with lotus in each of her two arms. Curiously, all the divinities on the two doorframes ride directly over their respective vehicle. The Rangamandapa of the temple is featureless. The Devakulikas, built at the close of tenth century, are almost uninteresting. Only those on the north face have a jangha decorated with Vidyadevis, Dikpalas and vyalas. As for the date of the Main Temple, BHANDARKAR thought that the wall mouldings are as old as eleventh century.56 In point of fact the original parts of the temple are still older, of the mid-tenth century as the comparison with the Ambika temple (961) at Jagat and other contemporaneous shrines doubtless indicate.57 The informed sources say that the image in the sanctum once had a pedestal bearing a date equivalent to 954 which supports the above-noted conclusion. The Mahavira temple, as we look back and estimate, is one of the notable examples of the Medapata school of the Maru-Gurjara style of architecture. Its rich iconography which includes the oldest known example of Brahmasanti Yaksa58 is equally significant. IV NAVALAKHA PARSVANATHA TEMPLE AT PALI Pali, Pallika of the mediaeval period, seems to be a town of some consequence, indicated by its monumental remains, but also by its being the germinal land of Pallivala brahmins as well as Pallivala banias and the Pallivala gaccha of the Svetambara Canon. To the architectural history of Western India Pali's contribution is of some significance, Pali being located on the crossroads of the two contemporaneous styles-Maha-Maru and Maha-Gurjara-and, the three out of its four extant temples are illustrative of three different stylistic 56 'Progress Report of the Archaeological Survey of India, Western Circle,' 1908, p. 59. 57 AGRAWAL, R. C., Khajuraho of Rajasthan, The Temple of Ambika at Jagat, 'Ars Asiatiques', Tome X, 1964, Fascicule 1; also DHAKY (1961), plates VII-VIII illustrating old temples at Kotai, in Kutch. 58 For detailed information on Brahmasanti Yaksa, consult SHAH, U. P., Brahmasanti and Kapardi Yaksas, 'Journal of the M. S. University of Baroda', Vol. VII, No. 1.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 333 landmarks perfectly bolstering the concept of the aforementioned two archetypal styles and the third style that resulted by their mating. The Anadakarana temple in the heart of the town represents the MahaMaru style of the mid-tenth century but still at its virginal purity; the Navalakha Parsvanatha temple has a Mulaprasada that follows MahaGurjara style but the Gudhamandapa, curiously, is expressive of the Maha-Maru style; and finally the Somesvara temple, of late eleventh century, is a representative of the full-fledged Maru-Gurjara style. Our immediate concern is of course with the Navalakha temple to which now we shall turn. The Navalakha Parsvanatha temple was originally dedicated to Jina Mahavira since referred to as Viranatha maha-caitya and Mahavira caitya in the inscriptions of 1122 and 1145 respectively. The oldest inscriptions on the image-pedestals within this temple are datable to 1088 and 1095 respectively.580 The temple comprises a Mulaprasada, Gudhamandapa, Rangamandapa and the Devakulikas surrounding the major part of the temple-premise. The Devakulikas are not integrated with the Rangamandapa. They, together with the latter structure and the sikhara of the Mulaprasada, were added or replaced in 1629 when the previous cult image was substituted for that of the Parsvanatha; our interest is, albeit, centred around the older portions only. The Mulaprasada is tri anga on plan with karna, pratiratha, and bhadra in the proportion of 1:0.75:2 respectively. The original diameter, inclusive of the patha now hidden below a recently built platform, could, seemingly, be 6 M. The topmost part of the pitha exposed above the mask of the platform is a slanting cippika such as known at Trinetresvara temple at Than. The vedibandha of the wall, strangely enough, does not possess the usual antarapatra. The kumbha reveals interesting decorations; powerfully rendered, fully blown half lotus on the karna faces,59 hamsa yugma as well as kinnara yugma on the pratiratha faces, 60 and surasenaka at the bhadras.61 The kapotapali is ornamented with 58a BHANDARKAR (1908), p. 45. 59 As found on the kumbha of the Devakulika No. 5 in Mahavira temple group at Osia. This one, from Navalakha, has a little earlier look. Such decorations are known at the identical positions at Ambika temple at Jagat and Siva temple, Kotai. 61 This is a Maha-Maru feature. 60

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334 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME ardharatna alternated with thakarika, a feature fairly common with the Western Indian temples of that age and earlier. On the jangha of the wall, the three principal niches are today found vacant. Each pratiratha face, and that which is on the same directional plane as the bhadra niche, shows a standing figure of a Kayotsarga Jina with maladharas hovering above; whilst the face on a plane at the right angle shows an apsaras in each case. The Dikpalas, as usual, take their position on the karnas. The salilantaras are filled with vyala figures, those of gaja- and simha- are clearly discernible. Above each vyala is carved a bold visage of a grasa. The bistriated varandika above the jangha is simply treated. The rathika above each bhadra harbours a Jina image. The Gudhamandapa has a featureless exterior. The large, fluted vase-and-foliage pillars of the octagon are doubtless original, though, the great ceiling they support is a substitution of a later date. The kola courses in the four vikarna (corner) vitanas are, however, original. The patrasakha of the saptasakha doorframe of the sanctum has suffered from the recent mirror inlay. Next follow in sequence the vyalasakha, gandharvasakha, rupastambha with Jina matska figures in panels, gandharvasakha yet again, followed by vyalasakha, the bahyasakha (disfigured now with mirror setting) and the eighth adventitious maladharasakha. The entire Gudhamandapa inclusive of pillars, ceilings and the doorframe is under thick coating of paints. The Mulaprasada, on the other hand, has suffered both from plaster-coating and gaudy paints. The temple, though preserving old fabric, has lamentably lost its photogenic qualities. Commenting on this temple, BHANDARKAR wrote: "The temple of Naulakha is in plan like many Jain temples, and there is nothing particular here that calls for any notice. It is doubtless an old building that has undergone repairs. The most ancient part of the temple is the gudha-mandapa or closed hall, the pillars of which cannot be later than the 10th century. They are, however, vulgarly bedaubed with different paints.... and are thus deprived of their original beauty."62 As observed in the foregoing, only the interior of the Gudhamandapa (save its central ceiling) is original. Although BHANDARKAR is silent on the doorframe of the sanctum, it, too, is original. At the same time BHANDARKAR's utter non-reference to the Mulaprasada is difficult to 62 BHANDARKAR (1908), p. 45.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 335 explain since it is, even as a casual examination reveals, old and original upto the cornice. In style, the Mulaprasada comes very close to the Mahavira temple at Ghanerao (c. 954), Ambika temple (961) at Jagat, Lakhesvara temple at Kerakot, Siva temple at Kotai---both of mid-tenth century-, in short to all such temples of the different schools of Maha-Gurjara style with a central date of mid-tenth century. At the same time it differs sharply from the contemporaneous Nilakanthesvara temple at Kekind, a most representative example of the Maha-Maru tradition in its late maturity. The fluted vase-and-foliage class of pillars in the Gudhamandapa seem to be derivative of those seen in the well-known Sun temple at Osia, while the doorframe shows general relationship with the doorframe of Kamesvara temple at Auwa. The figures in the doorframe reveal nuances of the tenth century despite the thick coating of painting. It seems, a different guild altogether, the one which followed Maha-Maru tradition, had worked on the Gudhamandapa. V THE TEMPLE OF MAHAVIRA, SEWADI Sewadi was known in the early second millenium as samipati according to the inscription of 1115 in the Mahavira temple. The temple itself is of the usual Jaina plan with a Mulaprasada, Gudhamandapa, Trika, Rangamandapa, and the surrounding Devakulikas. The Mulaprasada, some 6.8 M in width, is tri anga on plan where karna and pratiratha are not only samadala (equilateral) but also of the same proportions. The mouldings of undecorated karna-pitha are otherwise bold. The lotuses on the kumbha of the vedibandha are also powerfully rendered. The mandovara is simple and its bhadra-niches are vacant. Above the sanctum comes the sikhara which is in Bhumija mode. It is a brick and plaster structure. The plaster is naturally oft-renovated since the temple is a living monument. That perhaps misled BHANDARKAR who wrote that the "spire....is a later work, but resembles the Dekkan style of sikhara."63 The spire is certainly not late. There is a complete accord between the Mulaprasada and the spire both in proportions as well as details not possible had the spire been late. The absence of kutacchadya, the bold surasenaka at the root of the lata (spine) and the beautiful regression of its kutastambhas differentiate it from later examples such as known from Rankpur (Sun temple: mid 15th-cent.) and Chittor (Adbhutanathaji temple : late 15th 63 Ibid., p. 53.

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GAR BHA GR HA FEET Be MUKHA LINDA GUDHA MANDAPA MUKHA MANDAPA 61 ata 163 274CMS Plan of Mahavira temple, Sewadi

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2 Fig. 1 Back view, south, Mulaprasada, Mahavira temple, Osia

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S Jan Education International 121 Fig. 3 The Western Bhadra balcony, Mahavira temple, Osia Fig. 2 The Sikhara and the Phamsana, Mahavira temple Osia

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Fig. 4 Torona Mahavira temple, Osia

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Fig. 5 South facade, Devakulika No. 1, Mahavira temple, Osia

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WHA AM Fig. 6 De vakulika No. 5 Mahavira temple, Osia For Private & Personal Use Fig. 7 Devakulika Nos. 2 and 4 Mahavira temple, Osia 000

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Fig. 8 A pillar, bhramantika, Mahavira temple, Varman SS Fig. 9 Pilasters, bhramantika, Mahavira temple, Varman Jan Education Internage

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Fig. 10 East face, Mahavira temple, Ghanerav 5 TE METTETSMES Fig. 11 South face, Mahavira temple, Ghanerav Je@om ry.org

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Fig. 11A South side, Mulaprasada, Mahavira temple, Ghanerav YEN Fig. 12 Mukhamandapa, Mahavira temple, Ghanerav Sons Only

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Nowe Zegna SOVEROSOBAYO 68 JOIOIOS Fig. 13 Samatala Vitana, Mukhamandapa, Mahavira temple, Ghanerav

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Fig. 14 A Ksipta Vitana of Nabhicchanda order, Mahavira temple, Ghanerav Fig. 15 conal Use Only A Ksipta Vitana Order, Mahavira temple, Ghaneray

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CONNETENIN ain Education International Fig. 16 A Ksipta Vitana of Sabhamarga Order, Mahavira temple, Ghanerav

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Fig. 17 Gudhamandapa, Mahavira temple, Sewadi

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Fig. 18 Bhumija sikhara of the Mahavira temple, Sewadi

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NO SEND FEEMID Punty Fig. 19 Back view, Neminatha temple, Nadol

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Fig. 20 Back view, Mulaprasada, Parsvanatha temple, Sadri

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FISKEGREUTA Fig. 21 Back view of the sikhara, Parsvanatha temple, Sadri

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Fig. 22 Gudhamancapa, West face, Parsvanatha temple, Sadri

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ETUSSUOT Fig. 23 Mulaprasada, temple of Padmaprabha, Nadol www.jainelibrary.one

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2016 PRIC C **1 BARE THE INT Fig. 24 Mulaprasada with Gudhamandapa, temple of Padmaprabha, Nadol

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 337 cent). The absence of gavaksas typical of the later age further strengthens this view. In fact the entire appearance of the sikhara is more archaic than the two dated and the oldest known examples of Bhumija class, the Ambarnatha temple (1060) near Bombay and Udayesvara temple (1080) at Udayapur in Madhya Pradesh. What BHANDARKAR calls "Dekkan style" is now what we know as Bhumija on the strength of Samaranganasutradhara (1035-55) and Aparajitaprccha (3rd quarter of 12th century) 64. The Gudhamandapa, some 8.9 M wide, is likewise tri anga but bhagava on plan. Its balconied windows once had grilles (Fig. 17) of the kind known at Modhera. The confronting face of the karna of the jangha here, unlike the Mulaprasada, bears figure sculptures; so also the middle part of each of the two bhadra-lattices. Commenting on these figures, BHANDARKAR thus writes: "The figures on these walls are not profuse, but are artistically carved, and cannot be later, in my opinion, than the tenth century. On the south are three, the first of which is a Naga female with ear-lobes perforated and bearing earrings. She has two hands, the left one of which holds a shield and the right a scimitar now broken off. Her head is canopied with the hood of a snake, whose coils come down to her left foot. The second figure is in a niche decorated with side pilasters, the tops of which are surmounted by two seated Jinas. In the niche itself, the figure wears a crown, necklace and waste band, and stands in the attitude of kayotsarga. The third figure is that of Ksetrapala, altogether nude, and with two hands, one holding a club and the other upraised but bearing a snake. On the north side also there are only three figures, the central one of which is in a niche, and is almost exactly the same as that on the south side. Of the remaining two, one is a female figure with two hands, of which the left is broken off but the right bears a discus. Below near her right foot is her vahana, the man. Her ears are perforated, and she wears earrings. The other figure is of Brahma, standing with two hands, the right one of which is raised up and bears a rosary while the left holds a pitcher. He has a beard and wears khadavs or wooden sandals. His ears are also perforated, and behind his head is shewn a 64 STELLA KRAMRISCH was the first scholar to identify the Bhumija mode. KRISHNA DEVA has discussed the morphological features of this mode at some length in his presidential address (Fine Arts and Technical Science Section) at All India Oriental Conference, Srinagar, 1961. G.J.V. 22

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338 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME creeper."65 These images are of singular iconographic interest. What BHANDARKAR called "Naga female" is in reality Vidyadevi Vairotya. The niched figure applied on the middle part of the grille, which wears ornaments and stands in kayotsarga pose, is none else but Jivantasvami Mahavira. His identification of the nude image may, if correct, be an unusual form of Ksetrapala, or perhaps it may be an hitherto unknown form of Parsva Yaksa. The central figure on the grille on the south side was, as against the assertion of BHANDARKAR, not the same as the one on the corresponding position on the south. It was a standing figure of Jina Mahavira and not of Jivantasvami.65a The female figure bearing a discus is of course Yaksi Cakresvari. And what BHANDARKAR calls Brahma must be identified as Brahmasanti Yaksa. A mediaeval iconographer would have been simply displeased with the sculptor who indicated the presence of the divinities with such an economy of arms and attributes. He would even have dismissed the mount altogether in most cases. That gave his chisel a freedom, often denied, to turn his figures into living, pulsating, smoothly swaying male and female bodies of extraordinary beauty with round, finely formed faces radiating an inner glow of bliss and compassion. They are, or rather they were66, the greatest masterpieces of chiseling of their age in all Western India. Sculptors of the stature and vision of the Sewadi class are rare to meet in the Middle Ages in India. The superstructure of the Gudhamandapa, if it ever existed, has disappeared in antiquity. BHANDARKAR thought that "....the outside walls of the gudha-mandapa or closed hall and the garbhagsha or sanctum, though old, are evidently rebuilt."67 This deduction does not stand scrutiny since both the structures are original, retouched though here and there. The Trika possesses eight free standing pillars, octagonal below and polygonal and round above. They are sparsely decorated. The hamsa-yugmas shown on the jadya-kumbha of the base of the pillars at once remind us of a similar decoration on the kumbha of the mandovara of the tenth century temples in Mewad, Navalakha Parsvanatha temple at Pali, and Siva temple at Kotai in Kutch. The pillars themselves 65 BHANDARKAR (1908), p. 53. 65a These grilled balconies have been very recently replaced by pillared porticos. 66 Of late they were coloured, and retouched also. 67 BHANDARKAR (1908), p. 53.

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 339 bear affinities to those known from Ambika temple at Jagat and Arunesvara temple (mid tenth cent.) at Kasindra near Abu Road. The Trika is provided with lateral staircases, a feature unknown with any other Jaina temple with trika in Western India. The ceilings of the Trika are all plain. But the two niches carved on either side of the doorframe of the Gudhamandapa are little masterpieces of khattaka carying. On their round pilasters are shown gracefully swaying kalasa-dharinis, a feature also paralleled Somanatha Phase II temple (1027-30) at Prabhasa. The pediments in the shape of udgamas in series are both rich for the patterning and bold in delineation. The tri-sakha doorframe of the Gudhamandapa comprises a patrasakha with undulating creeper, rupastambha with Yaksis and Vidyadevis, and lastly the bahyasakha with bold lotus leaves. On the rupastambha, such figures as of Padmavati, Nirvani and Cakresvari can be culled out; the attributes of the rest have become indistinct under the thick coating of painting. In the uttaranga panels are found: the figure of Jina Mahavira in the centre flanked on either side by a figure of the goat-headed god Harinegamesi and two goddesses on the left and right side. The Gudhamandapa from within is plain. Its pillars, out of the normal axes, are not unlike those in the Trika. The lintels resting above show a vigorously carved diamond motif on their faces as is known with the temples in Nadol. The ceilings are flat and undecorated. The trisakha doorframe of the garbhaglha is almost similar in form to that of the Gudhamandapa. The rupastambha is likewise graced with the figures of Vidyadevis and Yaksis. Rohini, Vajrankusa, Gandhari, Vairotya, Acchupta, Prajnapti, and Mahamanasi can be easily identia fied. On the uttaranga is seen Jina figure in the centre flanked by goddesses in panels on either side. Purusadatta, Cakresvari, and Kali can be recognized without difficulty; for the rest, although attributes and vehicles are more or less clear, their textual parallels are wanting to permit correct identification.68 The Rangamanapa is too simple to deserve much notice over and above the fact that, to all seeming, it is an addition of the fifteenth century. The Devakulikas seem to reveal two different phases of 68 A Yaksi with pustaka, pustaka, and naravahana; another with naga as mount and patra and danda in hands; a third one with ram as a vehicle and sword and shield in hands.

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340 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME construction. Those on the east, and running upto the Trika along the north and the south were built contemporaneously with the Main Shrine. Those extending further and merging with the western row were added during the later part of the eleventh century. The temple was thus originally intended to be a caturvinsati jinalaya and not bavana jinalayi as it stands today with later accretions. There is nothing particular about the Devakulikas, most of which have a simple doorframe. The dvarapalas of the eastern ones are exceptionally fine, as exquisitely postured as those of the doorframe of the garbhagTha. On the re-entrant wall of the two Devakulikas in the eastern corridor are carved two niches, each facing the other and enshrining an identical image of Sarasvati of about the end of eleventh century. The kati mekhala of each one with its jhallari (festoon) is the most elaborate of its kind known in Western India. The pillars of the entryway in the eastern corridor with their sur-capitals and grille work and apsarases are of the same date as the temple. The date of the older parts of the temple requires careful examination. The inscription of 1116 within the temple declares a donation for the worship of santinatha installed by General Yasodeva, grandfather of Ghalluka, the contemporary of Prince Kattukaraja, the donor. Assuming Yasodeva installed the image about forty years before the date of the inscription, the temple must be in existence in 1076. But more precise evidences are supplied by the style of sculpture and the form of mouldings which are very near to those of the Sun temple at Modhera. BHANDARKAR dates the sculptures to tenth century as we have already noticed. They are, doubtless, a little earlier than those at Modhera but, at the same time, unquestionably later than those of the typical tenth century examples. A few vestigial architectural and decorative features of late tenth century are there, true : but those of early eleventh century are predominant. The temple, very possibly, is the foundation of the years soon after 1000. The stylistic affiliations of the shrine are with Medapata and Arbuda rather than Naddula. That, incidentally, leads to the question of the authorship of the temple. Sewadi stands on the crossroads of four mediaeval kingdoms : Abu, Nadol, Mewad, and Hathundi. Of these the last one is the nearest geographically. Although a principality, Hastikundi was powerful enough to give sanctuary to Cahamana Mahendra of Nadol and Mularaja Caulukya of Anhilapataka against Paramara Munja of Malava, and to Paramara Dharanivaraha of Abu against Mularaja Caulukya. The Rastrakutas of Hastikundi were

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 341 ardent patrons of Jainism as we have noticed earlier. Hathundi is hardly 15 kms. south of Sewadi as against the distance of some 50 kms. of Nadol to its north. Sewadi, for certain, went in the hands of Cahamanas of Nadol. But that must have happened in the latter half of the eleventh century on the strength of the inscription of 1116. When Sewadi temple was founded, a little after 1000, it was very probably in the hands of Hathundi rulers who just two decades back gave protection of the aforementioned royalties. Judging from the size of the temple a royal founder is within the range of probability. Could Rastrakuta Mammata of Hastikundi have his hands in its erection particularly when the stylistic influence of Naduula on this temple is merely marginal ? VI ADINATHA TEMPLE, NADLAI Nadlai was a twin to Nadol, the capital of the Cahamanas who branched off from the main line of the Cahamanas of Sakambhari sometime in the middle of tenth century. Nadlai seems to have derived from Nadquladagika mentioned in the inscription of 1137 in the Adinatha temple. With its picturesque tors and valley, dotted and capped by six Jaina temples and a few others in the town nestled beside the main hill which includes the largest one--the Adinatha templeNadlai unfolds to the visitor one of the finest scenic views known in Western India. The Adinatha temple, originally dedicated to Mahavira as attested by older inscriptions in the temple, has, behind its erection, a not very happy legend, one that reveals an unhealthy rivalry between the Brahmanists and the Jainas.69 The rival Brahmanical shrine of Tapesvara and the Jaina temple in question do certainly betray strong similarity of style, so much so that the guilds which built the two shrines-the oldest in the town-must have come from the same style-area which, incidentally, does not seem to be Nadol but Khetaka or Khed in Marumandala as recorded in tradition and endorsed by the style of old monumental relics at Khed itself. The Adinatha temple seems to have been built in great haste as apparent by the slipshod chiseling, stunted pillars, almost unadorned walls and artless articulation of its component parts. Lavanyasamaya 69 SHAH, AMBALAL PREMCHAND (1953), pp. 222-23. BHANDARKAR too takes note of the legend (vide 'Progress Report of the Archaeological Survey of India, Western Circle' 1909, p. 42).

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342 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (early 16th cent.) in his Tirthamala and the inscription of 1541 in the temple attribute the authorship of the temple to Yasodevasuri and the. date given for the erection of the temple is 908 by both the sources. The bardic tradition prefers 954. Stylistically, however, the temple does not seem to be older than the end of tenth century, or at most a couple of decades earlier than the Sun temple at Modhera, the date of which is known to be 1027. The temple comprises a sandhara Mulaprasada connected with a Gudhamandapa (which does not possess balconied windows) followed by the Trika. The Rangamandapa and the surrounding Devakulikas are of later age, possibly of 1541 as gleaned from an inscription. In its elevational aspect, the temple has no pitha, a feature peculiar to the majority of Maha-Maru temples, early or late. The elevation starts with the vedibandha which remained unaltered during later repairs; but the wall above seems to have been considerably restored. The diameter of the Mulaprasada is about 9.08 M; while the garbhagsha is about 4.37 M wide. The kumbha of the vedibandha of the garbhagyha is carved with half diamonds and lotuses. A bold padmapattika tops the wall. The treatment of the decorative motifs here is more vigorous than for the same motifs at Modhera. The doorsill shows figures of Yaksa Sarvanubhuti and Yaksi Ambika. The upper portion of the frame has undergone repairs. The sikhara above the Mulaprasada is not original. The Gudhamandapa possesses within a double row of columns; those four of the sala are of the ghata pallava order. The four free standing pillars of the Trika are also of the same class, all unfortunately under very thick coat of shrill colours. Compared to the size of the temple--the overall length with the Trika being 16.8 M-the columns are stunted and slender. A small, black image of a Jina in a niche in the Gudhamandapa may be contemporaneous with the original, older parts of the shrine. The Jaina temples next in date at Nadlai, erected possibly a generation later, are those of the Neminatha atop the southern hill and of Parsvanatha on the slope of the opposite hill. The Neminatha temple is a simple Latina shrine with an equally plain Gudhamandapa attached to which is a plain Latina Devakulika. The Parsvanatha temple seems stylistically to be contemporaneous with the Sun temple at Modhera with no figural carving, however, to decorate its walls. A still later temple, that of Santinatha and of late eleventh century, lies some

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 343 distance to the south of the last one. Its pitha shows the usual Maru-Gurjara mouldings, though its mandovara (wall) bears no images except on kumbha. These two temples were extensively repaired during later times. The remaining Jaina temples are later bearing and thus are not pertinent to our discussions. VII JAINA TEMPLES AT NADOL Nadol or Naddula as it was known in the mediaeval period was the seat of the powerful Cahamana principality from the middle of tenth century as already alluded to in the foregoing pages. The late tenth century seems to be a period of considerable prosperity and as much architectural magnificence for Nadol as attested by a number of monuments--theistic and secular-still found at Nadol in varying degrees of preservation. To this phase of architectural activities belong the famed temple of Neminatha the jagati of which is old, the shrine proper being a replacement in the second quarter of eleventh century as suggested by its mouldings and the typology and jala work of the sikhara. In the later reconstruction a few older fragments of the original tenth century shrine bearing Dikpalas and vyalas were reutilized. Some are seen fixed in the compound wall also. The back view illustrated here gives the idea of how it looks like (Fig. 19). The Mulaprasada is not large, only 4.57 M in width. It is built according to the tenets of the Maru-Gurjara style of temple architecture. In the sikhara the rathikas preserve the original images of Yaksis, Cakresvari in the south and Nirvani in the west can be seen in their original position. The Gudhamandapa, some 6.8 M in width, shows the mouldings as undecorated as those of the Mulaprasada and its interior deserves little comment. The Trika too is not interesting. Originally the shrine possessed the usual twenty-four Devakulikas that have diappeared in antiquity. The Valanaka is old but plain. The second Jaina temple, of santinatha, which faces east, seems to have been erected in the middle of eleventh century; but the present fabric is a haphazard rebuilding at some date, possibly in the seventeenth century. The principal niches of the sanctum are vacant; but on the karnas are found, curiously enough, the female forms of the Dikpalas. On the pratirathas are seen Vidyadevis, Gauri among them is clearly identifiable.70 The Gudhamandapa is plain. One 70 A Yaksi with vara, parasu, mudgara and kunnika with gaja as the vehicle and another one with varadaksa, trisula, naga and bijapuraka are not traceable in the texts.

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344 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME of the Jina images in the inside niches here is stylistically of the tenth century. The largest Jaina temple at Nadol is that of Jina Padmaprabha which like the Neminatha temple, faces north. BHANDARKAR does not mention the former two Jaina temples though he does take notice of this latter one, and thus commented: "Of the Jaina temples in Nadol, there is only one that deserves to be noticed. It is the one dedicated to Padmaprabha, the sixth Tirthamkara.'71 The Mulaprasada as well as the Gudhamandapa are fully decorated, of the Maru-Gurjara style of the third quarter of eleventh century with which we are familiar from a number of temples in north Gujarat?? and the Somesvara temple at Pali.73 In fact it is the largest extant temple of that age in all Western India. The Mulaprasada, about 12 M wide, is fully decorated and possesses all the mouldings except asvathara in the pitha (Fig. 23). It is tri anga on plan and, following the tradition of the third quarter of eleventh century, is broken up into a large number of vertical chases. The mandovara is also fully decorated in confirmance with the architectural taste of the age. The jangha shows Jina figures in the bhadra niches, Dikpalas on the karnas, and apsarases on the pratirathas of the mandovara of the Mulaprasada. The bifacial karna of the Gudhamandapa possesses deep sunk niches (Fig. 24). Deep sunk niches appear for the first time in the third quarter of eleventh century as attested by Maru-Gurjara temples both in Gujarat as well as in Rajasthan. Such are found here in connection with the Mulaprasada. But to find it in association with the karna of the Gudhamandapa is certainly unusual but not an unappealing feature. Here they harbour Vidyadevis among whom Vajrankusa, Vajrassnkhala and a finely rendered figure of Rohini may be discerned. The Gudhamandapa, save for its lateral porticos, is a little less than half meter wider than the Mulaprasada. 71 Progress Report of the Archaeological Survey of India, Western Circle', 1909, p. 46. 72 For example, the Nilakanthesvara temple at Sunak, and Dugdhesvara Mahadeva temple at Mandropur.. 73 The red stone Somesvara temple at Pali is larger than the Gujarat temples cited in the preceding footnote, though not as much ornate, and similar on plan. Its Mulaprasada is 7.11 M wide; Rangamandapa is 8.63 M, wide and the total length is 14.6 M. It is a pancayatana shrine,

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 345 The sikhara of the Mulaprasada is a seventeenth century reconstruction. The Gudhamandapa has lost its external covering since long ago. The Trika and the attendant shrines with Valanaka are of little interest. Judging from the size and ornateness of the Main Temple, it is not unlikely that a Cahamana prince could have his hands in its founding. VIJI PARSVANATHA TEMPLE, SADRI Sadri is a midway station for the pilgrims and tourists proceeding to the world-famous Ranakpur. Very few, however, are aware of the wonderful little shrine of Parsvanatha located in the town. It is difficult to comprehend how BHANDARKAR missed this temple. * This splendid temple is almost a smaller replica of the Padmaprabha temple at Nadol and built likewise of Sonana stone of white, dry complexion. On plan it is tri anga with the usual bhadra, karna and pratiratha proliferations. Unlike the Nadol temple, however, the pitha omits the upper, figural courses. An udgama is found on bhadra points on the jad yakumbha as in Nadol temples and the Parsvanatha temple at Sanderav. This feature is absent in the contemporary temples in Gujarat. It is a legacy of the Maha-Maru tradition preserved by the Maru-Gurjara temples in this tract of Rajasthan. The jangha of the mandovara of the temple displays as usual the Dikpalas and apsarases (Fig. 20). The sikhara above the Mulaprasada (Fig. 21) is a masterpiece of the Maru-Gurjara style and except for the stunted pitha, the Mulaprasada with its sikhara reveals extremely good proportions, beauty of form and excellence of details. The rathika on the east shelters an image of Vagdevi: that on the west, Vidyadevi Mahamanasi. The diameter of the Mulaprasada is about 6.1 M. The superbly proportioned Gudhamandapa thoroughly harmonizes with the Mulaprasada despite the fact that the superstructure is missing. On the jangha, at all karna faces, deep sunk niches sheltering Yaksis and Vidyadevis are there as we saw at the Padmaprabha temple at Nadol. The Vidyadevis figure on pratirathas as well; while apsarases and Dikpalas here occupy subsidiary positions. On the east wall of the Gudhamandapa are found Apraticakra, Nirvani, Mahakali, Mahamanasi, Vairotya, Rohini, and Vajrankusa. Those on the corresponding west face are Vairotya, Kali (?), Vajrarkusi, Purusadatta, an unidentified goddess, Rohini, and Kali. The bhadra niches are vacant. The width of the Gudhamandapa is 7.92 M approximately. The Trika has no special feature to detain us. The Rangamandapa is in the Ranakpur

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346 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME style, of the fifteenth century. The devakulikas have been recently substituted by new ones. We have discussed, in this survey, the more notable examples of Jaina temples ranging in date between the late eighth and late eleventh century. For limitations of space, Dilwara temples and the temples at Kumbharia have been excluded from the survey. They need independent monographs.74 There are quite a few other interesting temples on which we could not dwell but the nature of which may be alluded here for completing information, if not comparing the detailed aspects. A portion of the Jaina temple--founded by Pratihara Kakkukaraja at Ghatiyala-is still standing but of not much usefulness since severely plain in treatment.75 The Jaina temple at Mandor preserves a few pillars of the tenth century. Temples at Taranagar in Bikaner area and the Jaina temple at Rani possess an older fabric datable to the tenth century. The Jaina temple at Kekind reconstructed in the middle of fifteenth century preserves three door-frames of the original tenth century fane. The temples just mentioned followed the Maha Maru style of architecture. There were contemporaneous temples in Maha-Gurjara style as well. The temple of Mahavira (960) at Nana preserves plain but older mouldings in the elevation of the sanctum. The image of Mahavira at Diyana was consecrated in 967 in the time of Paramara Krsnaraja of Abu though the temple in which it was enshrined is no more extant. There are likewise a few temples in Maha-Gurjara style, of the early eleventh century. The Parsvanatha temple at Sanderav, of Nadol idiom and the Jaina temple at Barlu of the Arbuda idiom are Latina shrines with a fine jala work on the sikhara but simpler socle and wall. The Mahavira temple at Mungthala, Kasindra temple and the Jaina temple at Jhadoli of the same age are likewise plain. The survey of the Jaina temples erected particularly between the eighth and early eleventh century in Rajasthan, whether recorded in literary sources, inscriptions, some still extant, reveals a curious fact that a large majority of them were sacred to Jina Mahavira. The Astottari 74 My monograph on the Dilwara temples is in press. A long paper on Kumbharia temples is being published by the Department of Archaeology, Government of Gujarat. 75 R. C. AGRAWAL has published its details in the Journal of the Oriental Institute, Baroda', Vol. XVI, No. (1963). .

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SOME EARLY JAINA TEMPLES IN WESTERN INDIA : 347 Tirthamata (1244) of Mahendrasuri, Bhinmal inscription of 1277, the inscription in the Mahavira temple (dated 1370) at Mungthala, and Vastupala-caritra (1444) of Jinaharsa aver that Mahavira Himself had visited Marubhumi or western Rajasthan. The tradition, the earliest record of which is available in the thirteenth century as mentioned above, was possibly, still older, current perhaps in the Pratihara period as well, which actuated the founding of so many temples dedicated to Mahavira. There is, albeit, no support to this tradition in Jaina agama texts. We are, today, indebted to this tradition, parenthetically, for the fillip it gave to the intensive art and architectural activities by the Jainas in Western India.

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New Documents of Jaina Paintings Moti CHANDRA UMAKANT P. SHAH INTRODUCTION REFORE the treasures of the Jaina Bhandaras were partially made available to scholars, almost nothing was known about the history of painting in Western India roughly from 1100 A.D. to 1550 A. D. The history of these Jaina Jnana-Bhandaras is closely associated with the progress and conservation of learning in Western India. Their foundation is attributed to a big famine which occurred in the fifth century as a result of which the majority of Jaina monks died and the sacred lore of the Jainas suffered terribly. Therefore, in order to save the Jaina lore from complete extinction some steps had to be taken. A council under the presidentship of Devarddhigani was summoned in circa 453 A.D. at Valabhi and, with the consent of the monks assembled there, the Jaina canon was committed to writing. However not much is known about the progress of book writing in the following centuries. But there is every possibility that the Jnana-Bhandaras were founded; and these became the custodians of this sacred literature. However, one thing is certain that by the tenth century Jaina monks had realised the great educational value of the Jnana-Bhandaras. Their founders took great pains to explain to the intelligentsia the

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NEW DOCUMENTS OF JAINA PAINTINGS : 349 importance of the religious and secular texts which had been accumulating for over 500 years. Such foundations encouraged the Jaina bankers and laymen to order copies of the sacred texts and present them to the monks who in their turn deposited them in the Jnana-Bhandaras for the benefit of posterity. In order to encourage this movement Jnana-puja etc. were held from time to time and this kept up the interest of laymen in learning. In this connection may be mentioned the names of Siddharaja Jayasimha and Kumarapala, the renowned rulers of Gujarat. Jayasimha (1098-1143.A.D.) is said to have employed about three hundred scribes to copy out books on religious and secular matters for the Imperial Library. It is further observed that the King got several copies of different works made and distributed them to scholars all over India. Kumarapala (1143-1172 A.D.) is said to have established twenty-one Jnana-Bhandaras. He is said to have employed seven hundred scribes and some of the manuscripts are said to have been written in gold. The example of these two Solanki rulers was followed by several great Jaina ministers including Vastupala and Tejapala. The two brothers became interested in learning and in Jnana-Bhandaras on the advice of their teachers Vijayasenasuri and Udayaprabhasuri.3 They are said to have established three big libraries at a cost of several millions of rupees. Pethad Shah (Skt. Pithvidhara), a minister of Parmara Jayasimha at Mandu-gadh (Mandapa-durga) in circa V. S. 1320 (= 1263 A.D.) is said to have founded Jnana-Bhandaras in seven cities including Broach, Devagiri, Mandu and Abu. Though the Jnana-Bhandaras were basically sectarian in nature, it is remarkable that the Jainas did not mind preserving in them books belonging to different faiths for ready reference and criticism. They also collected and preserved manuscripts of the work of the great poets of India including Kalidasa, works which, as the colophons say, 1 Prabhavaka-Carita (Singhi Series No. 13, Bombay 1940). Hemacan drasuri-Prabandha, verses 103-109. A similar tradition is also noted in another Jaina work entitled Kumarapala-pratibodha (G. O. Series, Vol. 14). 2 Kumarapala-pratibodha, pp. 96-97. Also see, Upadesatarangini, p. 140. 3 Vividha-Tirtha-Kalpa of Jinaprabhasuri (Singhi Series No. 10, Santiniketan, 1934), section entitled Vastupala-Samkartana. 4 According to Upadesatarangini (quoted by Desai, M. D.) in Jaina Sahityano Samksipta Itihasa (in Gujarati, Bombay 1933), pp. 404405. Also see, Gandhi L. B., Aitihasika Lekhasamgraha (in Gujarati, Baroda, 1963), pp. 416, 514, 540 for an account of Pethad Shah.

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350 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME were written by and for the Jainas. This shows that the Jaina monks in the middle ages were not narrow-minded communalists, but fully realised the importance of libraries preserving the literature of all the faiths. In that way they acted as the torch-bearers of Indian culture in the middle ages. The Jnana-Bhandara is a peculiarly Jaina institution. The JnanaBhandaras of Svetambara Jainas appear all over the Gujarat, Rajasthan, Malwa and Delhi-Agra (U. P.) region. The Digambara Jainas too had their Jnana-Bhandaras mostly confined to Delhi-Agra and Rajasthan but also extending as far as Karanja near Nagpur and as far South as Mudabidri in Mysore. The most important of the Svetambara Bhandaras are situated at Patan, Cambay, Jesalmere, Baroda, Ahmedabad, Idar, Surat, Kaccha, Chanasma, Limdi, Chhani, etc. These contain important collections of manuscripts on both palm-leaf and paper. Inspite of this richness of the Bhandaras the important pictorial material which they contained was for a long time not available to scholars. However, in the first quarter of the twentieth century a part of it was acquired from private collections, and was made available to scholars through the indefatigable efforts of Glassenap and Coomaraswamy. The latter published his Catalogue of Indian Collections in the Museum of Fine Arts, Boston, Part IV, dealing with Jaina paintings of Western Indian origin. It opened a new field of study in which participated a number of scholars including W. Norman Brown, N. C. Mehta, Muni Sri Punyavijayji, O. C. Ganguly, Ajit Ghosh, S. M. Nawab, M. R. Majmudar, Motichandra, U. P. Shah, Pramod Chandra. and others. However, in the beginning such efforts were naturally quite sporadic. The fault did not lie with the scholars. The difficulties were entirely due to the non-availability of sufficient material. In 1935, however, due to the joint efforts of Muni Sri Punyavijayaji and Sarabhai Nawab, Jaina Citrakalpadruma, Vol.I was published, in Gujarati, for the first time. A large number of illustrated manuscripts on cloth, palm-leaf and paper, hidden away in the inaccessible Jnana-Bhandaras were introduced to the students of Indian art. work supplemented the pioneer work of Coomaraswamy and W. Norman Brown in this field. Since then illustrated manuscripts are turning up 5 In 1913, Hutteman published Miniatures from the Kalpa-sutra in his Miniaturen-Zum-Jinacarita, Baessler Archiv, Band II, heft 2. In 1914, Coomaraswamy published his Notes on Jaina Art, in Journal of Indian Art and Industry, Vol. 16, pp. 81 ff & plates.

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NEW DOCUMENTS OF JAINA PAINTINGS : 351 fast from Bhandaras and private collections. These have added significantly to the history of Indian painting roughly between 1100 and 1550 A. D. The new material thus made available to scholars consists of painted wooden panels, cloth-paintings, palm-leaves and paper manuscripts. It was at first believed that Jaina paintings were stereotyped, that the illustrators were unaware of decoration and that owing to the sacred nature of their art they hesitated to experiment and change the composition. But with the availability of the new material it is evident how mistaken scholars were in underestimating the great contributions of these paintings or the illustrators of the Jaina manuscripts. The manuscript material, available to this date, suggests that the first half of the fifteenth century was a formative period of Western Indian Art. The great forward movement in Jaina manuscript painting which seems to have begun in the last quarter of the fourteenth century took great strides in this period. The manuscript material so far available shows that there was a definite attempt to improve the quality of the drawing and colours and that a certain degree of latitude was allowed to the painters to express their ideas in their own way. With its centre at Patan (Sri-Pattana), Gujarat (other known centres being Ahmedabad, Gandhar, Vadnagar, Champaner or Campakadurga etc.) was perhaps the most important centre of inspiration for the artists; Mandu, which was another big Jaina centre of the mediaeval period, was equally great so far as Jaina illustrated manuscripts are concerned. The manuscript of Kalpa-sutra painted at Mandu in 1439 A. D., now in the National Museum,6 gives certain interesting data about the new advancements in Western Indian Paintings. For the first time we get a Sanskrit name for an illustrated manuscript, namely, Kalapustaka?. The bold draughtsmanship, the enamel-like colours and the refined treatment of human figures show that the art was no longer hieratic but became more concerned with aesthetic implications. That this manuscript is not a solitary phenomenon is further supported by another manuscript of Kalakacarya-katha 6 Pramod Chandra, Notes on Mandu Kalpa-sutra of A.D. 1439, Marg, Vol. XII, on. 3 (June, 1959), pp. 51-54. Khandalavala and Moti Chandra, A consideration of an Illustrated MS. from Mandapadurga (Mandu) dated 1430 A.D., Lalit Kala, No. 6 (1959), pp. 8-29 and plates. 7 It will be necessary to check the reading from the original and make sure that the reading is Kalapustaka and not Kalpapustaka.

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352 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME of Mandu origin in the collections of Muni Sri Punyavijayaji. Amongst the new discoveries showing the progress which Western Indian painting made in the first quarter of the fifteenth century may be mentioned the magnificent manuscript of Kalakacarya-katha in the collection of Sri Premchandra Jaina, Bombay. It is dated 1414 A. D. and was probably. painted at Patan. This manuscript again shows careful draughtsmanship and love for detail and an abhorrence of the use of ultramarine and gold which are supposed to have become popular in the second half of the fifteenth century. The newly discovered Kalpa-sutra and Kalakakatha dated 1346 A.D. however is now the earliest known instance of the liberal use of gold (Colour plate I-Fig. 1). Due to the momentum gained in the fifteenth century, painting in Western India took further strides which resulted in the advancement of painting in two directions; firstly, strenuous effort was made by the Jaina bankers to bring an hitherto undreamt of sumptuousness into the illustrated manuscripts of Kalpa-sutra and Kalakacarya-katha. Costly colours like gold, lapis lazuli and carmine, formerly used very sparingly, were now very liberally used and some of the pious Jainas therefore got their manuscripts lavishly decorated. For example, the illustrated manuscript of Kalpa-sutra and Kalakacarya-katha in the collection of Devasano Pado which was probably painted in c. 1475 A.D. at Gandhara port (near Broach) shows the extent to which a Jaina merchant's devotion could go in order to give the manuscript a sumptuousness hitherto undreamt of. Decorative patterns drawn from architecture, textiles, carpets, fill the borders. Dancers and musicians, devotees and monks fill the border decoration of every page. Above all, this manuscript shows that under the impetus of the new movement the painters of Gujarat were evolving a new style in which Persian elements played an important part. The illustrator also shows a greater understanding of the landscape and of the social life of people. Another manuscript of the same type, which we are reproducing (Figs. 9, 12, 13) from Jamnagar Ancalagaccha collection, shows that there were other illustrators in Gujarat who, taking their cue from the Gandhara Port manuscript, were producing equally fine decorative work. The Jamnagar manuscript was painted at Sri-Pattana in V. S. 7a Recently published by Pramod Chandra in Bulletin of The American Academy of Banaras, No. 1. 8 Nawab, S. M., Jaina Citrakalpadruma, I, (Ahmedabad, 1936), figs. 114-142, 165 etc. Motichandra, Jain Miniature Paintings from Western India, (Bombay, 1949), figs. 106-138.

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NEW DOCUMENTS OF JAINA PAINTINGS : 353 1558 = 1501 A.D. The result of all these experiments in the field of manuscript illustration apparently created a fervour which resulted in a great leap forward so far as the subject matter was concerned. No longer did painting remain the preserve of the Jainas. In the second half of the fifteenth century Vaisnavas apparently adopted the Western Indian technique for illustrating some of their books such as Gitagovinda and Balagopala Stuti10. These manuscripts, though they follow the Jaina technique, show a liveliness, a sense of movement and an emotional understanding which is different from the matter-of-fact Jaina painting so hidebound by the stereotyped tradition. Of this new movement in painting the earliest document is naturally the secular scroll paintings of Vasantavilasa dated 1451 A. D.11 This was not a solitary phenomenon; for even the Jaina painters, taking their cue from this new movement, introduced a new emotional element so apparent in the illustrations of the Damayanti Katha, and the Madhavanala-Kamakandala recently discovered and discussed in the following pages. This new movement in art was not confined to Gujarat, Malwa and Rajasthan only. There is evidence to prove that the movement had spread as far as Uttara Pradesh and had affected the progress of 9 Majmudar, M. R., A Newly discovered Gita-Govinda Manuscript from Gujarat, late 15th century, Journal of the University of Bombay, September, 1941; pp. 119-131. A Fifteenth Century Gita-Govinda MS., etc., Journal of the University of Bombay, May, 1938. Khandalavala, Karl, A Gita-Govinda Series in the Prince of Wales Museum, Bulletin of the Prince of Wales Museum, No. 4 (1953-54), pp. 1-18 and plates. 10 Brown, W. Norman, Early Vaisnava Miniature Paintings from Western India, Eastern Art, Vol. II (1930), pp. 167-206. M. R. Majmudar, The Gujarati School of Painting and some newly discovered Vaisnava Miniatures, Journal of Indian Society of Oriental Art, Vol. X (1942), pp. 1-32 and plates. Also see Khandalavala, Karl, Leaves from Rajasthan, Marg, Vol. IV, No. 3 (1950), pp. 1-24, 49-56, for miniatures of Bhagavata Purana, etc. 11 Brown, W. Norman, The Vasanta Vilasa (New Haven, 1942), with plates. Mehta, N. C., Indian Painting in the 15th century; An early illustrated manuscript, Rupam, No. 22-23 (1925), pp. 61-65. Mehta, N.C., Gujarati Painting in the Fifteenth Century (London, 1931). Ganguly, O.C., Vasanta-Vilasa, a new document of Indian Painting, Ostasiatische Zeitschrift, New Folge, Vol. 2 (1925), pp. 186-189. GJ.y. 23

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354 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME painting in that part as evidenced by the illustrations of the Kalpasutra painted at Jaunpur in 1465 A.D.12 Though following the hieratic tradition, this manuscript shows a new movement and a new approach to figure-drawing which finally evolved in the Rajasthani type. By the closing years of the fifteenth century the art of Western India (after considerable experimentation for almost 200 years) began to take new directions. It was found out that certain conventions in Western Indian Art had played themselves out. For instance, the farther eye had gradually lost its organic hold and had become merely a decorative feature. It is difficult to say exactly where and when this feature was eliminated, but there is evidence to show that, by 1500 A.D., this feature was found redundant and was eliminated. Apparently in this period the illustrating of Persian classics was also undertaken. They began to be illustrated by Indian artists. In such illustrations it may be seen that the Indian artists had simplified the Persian elements and had tried their best to effect a synthesis between the Indian and Persian elements,13 Not only that but in this period there is evidence to show that in Uttara Pradesh heroic stories such as the Laur Canda and Mirgavati etc. were being illustrated in the Western Indian tradition 14. That this Western Indian tradition had taken hold over almost all of North India is further proved by a new Buddhist wooden-pata, illustrated in A.D. 1446 at Arrah in East Bihar15. Not only that, but 12 Jaina Citrakalpadruma, I, figs. 1, 163, 179, 181, 183, 196, 199, etc. Moti Chandra, Jaina Miniature Paintings from Western India, Figs. 99-105. Khandalavala and Moti Chandra, An illustrated Kalpa-sutra Painted at Jaunpur in A.D. 1465, Lalit-Kala, No. 12, pp. 9 ff. and plates. 13 Karl Khandalavala, The Origin and Development of Rajasthani Painting, Marg, Vol. XII, No. 2 (March, 1958), pp. 4-17 with plates. Also see, Pramod Chandra, An Outline of Early Rajasthani Painting, Marg, Ibid., pp. 32-37. 14 Rai Krishnadasa, An Illustrated Avadhi Manuscript of Laur Chanda in the Bharat-Kala-Bhavan, Banaras, Lalit-Kala, Nos. 1-2 (April 1955-March, 1956), pp. 66-71 and plates. Rai Ananda Krishna, Some Pre-Akbari Examples of Rajasthani Illustrations, Marg, Vol. XI, No. 2 (March, 1958), (Special issue on Rajasthani Painting), pp. 18-21, Figures 1-5 illustrating Miniature Paintings of Mirgavati. 15 Pal, Pratapaditya, A New Document of Indian Painting, Journal of the Royal Asiatic Society, London, Dec. 1965, pp. 103-111 and plates.

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NEW DOCUMENTS OF JAINA PAINTINGS: 355 going still further there are documents from Nepal also which indicate that the Western Indian tradition had become a common mode of expression by the 15th century. In the early sixteenth century painting from Gujarat and elsewhere took further strides. In this period Malwa and some places in Uttara Pradesh became important centres of painting. The art of this period may be divided in two phases, one classical and the other folk. It may be further noted that even though the traditional Western Indian features continue, the general tendency is towards the elimination of the farther eye. Mandu became an important centre of the classical phase. Here art was first time patronised by a Muslim court. The Ni'mat Namah manuscript shows that the School of Shiraz played an important part in its formation, though the indigenous traditions as seen in the Kalpa-sutra and Kalakakatha manuscripts painted in almost the middle of the fifteenth century at Mandu have left their impression on the Ni'mat Namah miniatures. In the absence of dated material, it is difficult to be sure about how painting in Gujarat reacted to new tradition when there should be no doubt that here as well the tradition had come to stay. However Gujarat and Marwar being the home of a rigid and hieratic technique in painting, the progress was not so fast as elsewhere. The old colour scheme continued to be followed. Yellow carnation was still their favourite colour and the landscape and decoration show the same simplicity of the older Jaina manuscripts. In the sixteenth century, however, the Digambaras, impressed by the propaganda value of Svetambara illustrated manuscripts, also commissioned the Mahapurana which they held in as great reverence as the Svetambaras held the Kalpa-sutral. It seems that towards the end of the fifteenth century the illustration of Mahapurana started. The Digambaras first patronised the prevailing Western Indian style though their emphasis on movement was quite different from the static poses of figures in the Svetambara manuscripts. The area near about Delhi became a centre for illustrating Digambara Jaina manuscripts. The Mahapurana dated 1540 A.D. painted 16 Skelton, Robert, The Ni'mat Namah: a landmark in Malwa Painting, Marg, Vol. XII, No. 3 (June, 1959), pp. 45-50. 16a They also commissioned the Yasodhara-carita with greater scope for introducing secular elements, as the recent discovery of a number of manuscripts by Shrimati Sarayu V. Doshi shows.

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356 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME at Palam shows a different approach to painting. The farther eye is eliminated but in composition, the colour scheme, and in the representation of the human figure the legacy of the old tradition is present. But this legacy of the older tradition was not the sole property of the Jaina manuscript illustrators alone. The Hindus as well started to patronise painting. In 1516 A.D. the Aranyaka Parvan of the Mahabharata17 was illustrated at a place near Agra. It shows the same characteristics as the Mahapurana. The painting in Uttara Pradesh was not confined to religious texts alone. The work of the poets in Avadhi, such as Mulla Davood (the author of Laur Canda who lived in the third decade of the fourteenth century) and Kutbun (the author of Mirgavati who lived in the early sixteenth century) became favourite subjects of painting. The Laur Canda, as is evident from the stray leaves in the Bharat Kala Bhavan, began to be illustrated in the closing years of the 15th century, and follows the Western Indian technique. In the early 16th century, however, it seems to have received royal patronage as the illustrations on Laur Canda in the Prince of Wales Museum 18 prove that under the new developments, the style assumed a richness that is beyond one's imagination. It may be truly termed as the classical style of Uttara Pradesh in the early 16th century. What happened during the Mughal period to the popular religious Jaina and other themes in Western India is well-known. Painters in Gujarat played an important part in the Mughal atelier of Akbar. Soon the pupils of these painters spread out in search of their livelihood to Gujarat and Rajasthan and this laid the foundation of the Popular Mughal style. This is a style in which though the figure drawing and costumes and to a very limited extent the landscape are indebted to the Mughal style yet the older traditions both in colour and landscape persist. The influence of the Mughal painting in that of Western India is manifested in two styles: the Popular Mughal style in which the Mughal style is used with a certain simplicity and the Folk style which has only certain resemblances with Mughal painting but which was used very extensively for satisfying the popular demand. 17 Moti Chandra and Karl Khandalavala, An Illustrated Manuscript of the Aranyaka Parvan, Journal of the Asiatic Society, Bombay, New Series, Vol. 38, pp. 166-221 and plates. 18 Karl Khandalavala and Moti Chandra, Three New Documents of Indian Painting, Bulletin of the Prince of Wales Museum, Bombay, No. 7, pp. 23-34 and plates.

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NEW DOCUMENTS OF JAINA PAINTINGS : 357 Documents of Uttara Pradesh origin are now forthcoming from the Jaina Bhandaras. These show that in the 17th century Agra and Delhi were not the only centres of the Popular Mughal style but Asani near Jaunpur and probably also Nautanpur (whose location is not yet certain but which should be somewhere near the region of Agra) seem to have been flourishing centres. This is evident from the manuscripts of Meghaduta and Kumarasambhava painted at Asanikotta and Nautanpur respectively. * The recent investigations by U. P. Shah have brought to light some very interesting manuscripts from the Jaina collections which throw important light on the history of Western Indian Painting. This new material may be divided into following categories : Group 1 (1) Kalpa-sutra - dated V. S. 1403 = 1346 A. D. (2) Kalaka-katha, in Mandu style, - c. 1440 A. D. Group II (1) Satrunjaya Mahatmya - c. 1420 A. D. (2) santinatha-Caritra - d. V. S. 1453 = 1396 A. D. (But seems to be around c. 1440 A. D. according to U. P. Shah and late 15th c. according to Moti Chandra). (3) Damayantikatha-campu-between 1400 and 1450 A. D. (4) Kalpa-sutra (painted at Vadnagar) - V. S. 1547 = 1490 A. D. (5) Uttaradhyayana-sutra (painted at Patan) - d. V. S. 1549 = 1492 A. D. (6) Madhavanala-Kamakandala-Katha (written in Patan) - V. S. 1550 = 1493 A. D. (7) Candraprabha-Caritra, dated V. S. 1555 = 1498 A. D. at Patan (8) Jamnagar Kalpa-sutra and Kalaka-katha (painted at Patan) -V. S. 1558 = 1501 A. D. Group III (1) Kumarasambhava, - V. S. 1701 = 1644 A. D. (painted at Nautanpur) (2) Meghaduta - d. V. S. 1726 = 1669 A. D. (painted at Asanikotta). Group IV (1) Samgrahani-sutra, (copied at Matar, Central Gujarat),- d. 1640 V. S. = 1583 A. D. painted by the Painter Govinda. (2) Samgrahani-sutra, (copied at Cambay), - d. 1644 V, S. = 1587 A. D.

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358 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (3) Samgrahani-sutra - d. 1637 A.D. in the Prince of Wales Museum (4) Uttaradhyayana-sutra, (copied at Anjara in Kaccha) - c. 1640-50 A. D. Group V (1) Upadesamala Balavabodha - dated V. S. 1765 = 1708 A. D. (2) Jambudvipaprajnapti - Prameyaratnamanjusa-tika, (donated at Balotara V. S. 1749 = 1692 A.D. but) dating from circa 1606 A. D. (3) Krsnaveli - c. 1650 A.D. (4) Naladavadanti-Rasa (incomplete) in Muni Sri Punyavijaya's collection - undated, c. seventeenth century. (5) Ardrakumara-Rasa - late 17th cent. A. D. (6) Samgrahani-sutra - dated V. S. 1707 = 1650 A. D. (painted at Navharanagara, probably in old Bikaner State). (7) Undated Samgrahani - (c. 1685 A.D.) in Muni Sri Punya vijaya's collections. Group VI (1) Canda-Rasa (copied at Vyaghrasenapura, probably in Gujarat) - V. S. 1712 = 1655 A. D. (2) Canda-Rasa (painted at Surat) - d. V. S. 1716 = 1659 A. D. (3) Devimahatmya (from Surat)- 1776 A. D., Collections of the Prince of Wales Museum, Bombay. (4) Haribala Caupai, d. V. S. 1744 = 1687 A. D. (copied at Sri Dharagrama). Group VII (1) Sri Candrarajano Rasa (Late Deccani-copied at Poona) -1812 A. D. The classified list of new documents also shows the material which U. P. Shah has been able to assemble. It contains perhaps the earliest dated paper manuscript of the Kalpa-sutra and Kalakakatha. Another significant point about the early group is that many of the manuscripts are dated and some of them also bear the names of the places where they were painted. A similar search for illustrated manuscripts which are dated and/or which bear place-names would help us to have a better understanding of the age and provenance of different styles of painting.

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NEW DOCUMENTS OF JAINA PAINTINGS: 359 An analysis of the manuscripts shows that Gujarat had the following centres of painting-Surat, Vyaghrasenapura, Patan, Cambay, Vadnagar, Matar, Ahmedabad, Anjar, etc. This shows a flourishing state of painting in Gujarat. Apparently there was a large demand for illustrated manuscripts from the Jainas of Gujarat and therefore painters started working in many centres to satisfy the ever-growing demand. Whether these painters devoted themselves exclusively to painting the Jaina manuscripts it is not known. There is, however, every possibility that these painters were not always Jainas and they must have worked for the Hindus as well but unfortunately illustrated. Hindu manuscripts discovered so far, are very limited in number. There is no doubt that there is hardly any difference between the Western Indian and Gujarati styles of painting. It is difficult to say whether the unplaced manuscripts in our list belong to Gujarat or Marwar. But the manuscript of the Samgrahani-sutra painted at Navaharnagar belongs to Bikaner area as Navahar is identified with Navghar. Most interesting, however, are the two manuscripts of Meghaduta and Kumarasambhava which are apparently of Uttara Pradesh originone painted at Asani near Jaunpur and the second at Nautanpur not yet identified but probably in Uttara Pradesh. Group I Of special interest for the history of Indian painting are two illustrated Kalpa-sutras, one painted in 1346 A. D. and the other in 1501 A. D. at Patan. Unfortunately the provenance of the first is not given. But probably it was painted at Patan which was a great stronghold of the Svetambara Jaina community from almost the tenth century A. D. onwards. The format of the folios shows clearly that the first manuscript belongs to the early group and could not be dated later than second half of the 14th century (figs. 1-3). The composition is simple but effective though this was the period when the themes for painting the Kalpa-sutra and Kalaka-katha were being formulated, and, therefore, though the painter shows a certain liking for conventionalised figures, especially in the representation of the king and queen, the acarya preaching to the congregation, yet in certain scenes such as the birth of Mahavira and Indra carrying the baby the painter has expressed a joie de vivre which is pleasing. The colours used are simple:

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360 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME red, green, white, black, carmine, yellow and indigo blue. However the predominant colour used is gold which is not of a shining variety as in the later Kalpa-sutras but well burnished and dull which gives a metallic impression to the figures. If the date of the manuscript is correct, it also contradicts the suggestion that in early manuscripts gold was very sparingly used. It is also significant to note that ultramarine is nowhere seen. The draughtmanship is pleasing. Though the exaggeration in body contour is continued yet a certain amount of reticence is seen. The scene is invariably laid in a conventional wooden arched pavilion. The inside decoration consists of room hangings and some furniture like a cauki and modha. There is no suggestion of landscape except strips of blue edged with gold representing the cloud. It is also interesting to note the emergence of an Indo-Muslim type in Kalaka-katha illustration by 1346 A.D. at least. That shows that by the middle of the fourteenth century at least the Indian and Persian elements had been synthesised. It is also interesting to note that in the scenes representing the Jaina acarya with his pupils the composition is directly copied from the earlier painted wooden panels. The acarya is shown seated on the left side and the laymen are arranged in two groups facing each other. It has been known from two illustrated manuscripts at least that Mandu in the fifteenth century was an important centre of art. The earliest Mandu Manuscript is dated in 1439 A. D. It has proved that Mandu though actually influenced by Western Indian traditions, was not a mere copyist of the School of Patan. The illustrations show that in the colour scheme, draughtsmanship and composition the painters of Mandu had evolved their own conventions. The draughtsmanship is of a very superior quality. The colours are enamellike in nature and the landscape is mostly confined to variegated clouds treated dramatically. Fortunately this limited material on the School of Mandu is further augmented by a recent discovery in the collection of Muni Sri Punyavijayaji of a copy of the Kalakacarya-katha whose illustrations (Figs. 4-5) could be very favourably compared with the Mandu manuscript of the Kalpa-sutra dated 1439 A.D. Again, in the picture showing the meeting of Kalakacarya and Indra in the garb of a Brahmana the features of the Mandu school are well represented. The background is deep red, the carnation of the figures is yellow, the draughtsmanship is very careful and the details of furniture are rendered carefully. The variegated hanging clouds complete the picture.

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NEW DOCUMENTS OF JAINA PAINTINGS : 361 Group II The Santinatha Caritra in which the folios measure 26.4 x 11.2 cm., bears a colophon which dates it in Samvat 1453 (1396 A.D.) This date however is doubtful, the colophon seems to have been added by a later hand. The format of the manuscript with 13 lines per folio must be of a later date as has been established by Prof. Norman Brown, though his theory requires certain revision. Even the style of the miniatures seems to be of a later date though it has preserved certain archaic features of the fourteenth century illustrated manuscripts. It is possible that somebody has copied the colophon of the earlier manuscript. It is evident from the style that the manuscript must have been prepared by the middle of the fifteenth century. Like other manuscripts of the period there is hardly any distinguishing point in the illustrations of the Santinatha Caritra. The background is invariably red and the themes are usually confined to the dreams of the mother of Santinatha, to an assembly of a Jaina acarya and his congregation, the plucking of the hair, Varsikidana (Fig. 6) Samavasarana, etc. It may be noted that in this manuscript the flesh. colour is indicated by shades of yellow and the draughtsmanship is not steady as in the 1346 manuscript of the Kalpa-sutra. It looses its stead!ness and has degenerated into a folk variety. The gold is conspicuous by its absence; it is only used for representing certain details of the ornaments. However shades of blue, both ultramine and indigo, are used. The composition follows the stereotyped Jaina technique, though there are certain innovations; for instance, the treatment of the cloud becomes more variegated and the stylised tree makes its rare appearance. However in certain scenes, for instance in the dream of Santinatha's mother, the dainty figures of the mother and her attendant are not of the later variety but seem to have been adopted from their fourteenth century prototypes. The Kalpa-sutra dated V. S. 1547 (=1490 A. D.), copied at Vadnagar, seems to have less artistic merit and may be relegated to the general run of the Kalpa-sutra manuscripts which were mass produced for presentation to the Jaina monks by the laity. In this manuscript gold and blue have been used profusely (Colour plate II, Fig. III) but the drawing seems to be stereotyped and the treatment of human figures indifferent. The colours have also lost their pristine glory. Since we have not been able to examine all the paintings of this manuscript while noting down these observations, our conclusions may be treated. as tentative.

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362 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME However it is interesting to note that this manuscript was commissioned by a Nagara Brahmana of Vadnagar, and copied by one Vachhaka of Patan. That shows the absence of religious animosity between the two great communities. Following the chronological order may be mentioned the illustrated manuscript of the Uttaradhyayana-sutra dated V. S. 1549 (= 1492 A.D.) painted at Patan. Illustrations of this Uttaradhyayana-sutra (Figs. 8-9) show some understanding of the decorative elements in painting. Though the illustrations follow the stereotyped theme of the other illustrated Uttaradhyayana-sutras yet the composition becomes more elaborate and the painter delights in giving us details. The background is red as usual; yellow is generally used for body colour and though the gold is almost absent in the delineation of certain details, in the representation of the garments of the Jaina acaryas, mica is used. The composition is no longer confined to two or three figures alone but at least in one painting an elaborate composition is attempted. There a lady is shown paying her respects to a Jaina monk inside a temple whose details are represented. This temple is situated in a garden with a bird and an antelope, a tree and shrubs, and a rivulet flowing in the background. Three men in the garden complete the picture. It is interesting to note that here we are not concerned with the hieratic themes of the Kalpa-sutras but are introduced to new elements which are pleasing. One may point out here that in this period, as indicated by certain patas (cloth paintings, both secular and religious), the painters were freeing themselves from the rigidity of the earlier school and trying to enlarge their composition which now becomes more convincing. As a matter of fact, in this period, as shown by the Vasanta-Vilasa scrollmanuscript, there is an attempt to free the figures from rigidity of movement and there is a greater appreciation of the landscape. To the same period (but somewhat earlier in age than the Uttaradhyayana-sutra just discussed) may also be dated an illustrated page from the Satrunjaya-Mahatmya (Colour plate I, Fig. II). Though the number of figures is limited in the composition, the dainty figures of the women and the restrained movement of Bharata brings forth subtly the idea behind the composition. To relieve the monotony of the red background, the painter has introduced the variegated male and female costumes, flowers and a strip of blue clouds edged with white. The Satrunjaya Mahatmya, according to Muni sri Punyavijayaji, should be assigned to a period between V. S. 1450 and V. S. 1475, or c. 1420 A.D.

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NEW DOCUMENTS OF JAINA PAINTINGS : 363 Next in order comes the illustrated manuscript of MadhavanalaKamakandala-katha, dated V.S. 1550 (= 1493 A.D.), and painted at Patan. There is no doubt that the new outlook in painting which was established by the Vasanta-Vilasa (and other paintings) continued to flourish and extended its scope to secular subjects like the present one. The story of Madhavanala and Kamakandala though known to have been popular in the seventeenth century Popular Mughal School (Fig. 37) and in Pahari paintings is now for the first time found illustrated at such an early period. However, it must be noted that this new mode of expression belongs to the folk style. Every attempt was made to simplify the composition and colours. Every attempt was made to focus the attention on the story (Figs. 10 and 11). However, though the composition is simplified the movement becomes the keynote of the style. Here we do not find the rigidity of the usual Jaina composition but joie de vivre of the folk style which delights in a convincing way. In keeping with the fifteenth century cliche the background is red or white, the body colour yellow, the farther eye extended, and certain limbs of the body exaggerated. However in the fighting scenes, the court scene with the musicians, and in the scene of Madhava with other girls in order to divert his mind from Kamakandala, one finds that though the style is simple yet it is perfectly capable of telling the story in a convincing way. In such a simple composition the landscape hardly finds any place. The clouds or the room decorations are introduced to relieve the monotony of the monochrome background. To the same period, approximately 1450 A. D. or a little earlier, belong the illustrated folios of a manuscript of the Damayanti-katha Campu composed by Trivikrama. Unfortunately the illustrations (Fig. 7) are in a bad condition, but whatever has survived shows that the painter was a master draughtsman who could manipulate his line not only to define convincingly the body contour but also to represent the details of the costume and the way garments were worn. Naturally in keeping with the traditions of the age, the composition is divided into panels, red is used as a background colour and the carnation is yellow. The illustration forms an important example of the new movement which had started by the middle of the fifteenth century in Gujarat. In this group may be mentioned the illustrated manuscript of Candraprabhacaritra painted in V. S. 1555 (= 1498 A. D.) at Patan. Here it may be seen how even a hieratic subject, conservative by nature, was affected by the new movement. In the scene depicting the elaborate

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364 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME ly decorated marriage-pavilion (Colour plate II, Fig. IV), the carefully drawn figure of Candraprabha with his white carnation and the coy figure of the bride, the Brahmanas and others witnessing the scene are well rendered. In order to relieve the monotony of monochrome background the painter has painted plaintain and other decorative trees and the peacocks perched on the terrace. A panel of faces appears in the background. Here as well in the white of Candraprabha's carnation and in the dhotis of the Brahmanas mica is used. The momentous discovery, from Jamnagar, of a richly illustrated copy of Kalpa-sutra and Kalaka-Katha dated Samvat 1558 (= 1501 A. D.) and painted at Sri-Pattana (Patan) shows that the Jaina patrons spared no money and effort to make some illustrated copies of the Kalpa-sutra as a pious act of dedication. The Devasano Pado's manuscript of the Kalpa-sutra and Kalaka-katha for the first time brought to our notice by Prof. W. Norman Brown, showed that Jaina painting did not confine to only stereotyped themes followed blindly but could also take recourse to other aids such as rich border decoration to add to the sumptuousness of the book-illumination. The painter of Devasano Pado manuscript did not fight shy of drawing material for his decoration not only from the decorative motifs of the Hindu temples consisting of the Apsarasas, Gandharvas, flowers and trees, armies on the march, but also from the carpets and textiles of Persian origin. As a matter of fact in border decorations, the painters of the Devsano Pado Kalpa-sutra introduced contemporary soldiers engaged in fighting, marching and enjoying other aspects of life, birds and animals, their hunters and landscape. The compositions of the Devasano Pado which at time are full-page illustrations also show that the painter was in a position to paint elaborate themes and use such costly colours as gold, ultramarine and carmine without any care for their cost. However though the date of the Devasano Pado Kalpa-sutra Kalaka-katha could be suggested as 1475 A.D. there are scholars who have suggested a much later date. Prof. Norman Brown suggested the date in the Akbar period. It may be noted here that in one of the decorations, a Muslim soldier is shown with a hand-gun. This, we may incidentally note, need not prevent us from assigning this manuscript to c. 1475 A. D. The Kalaka-katha attached to the Jamnagar Kalpasutra painted at Patan also contains a figure holding a gun. The Jamnagar manuscript not only uses the decorative motifs of the Devasano Pado Kalpa-Sutra but also other patterns and motifs which we come across in Western Indian art for the first time. A few pages

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NEW DOCUMENTS OF JAINA PAINTINGS : 365 from this Kalpa-sutra and Kalaka-katha are illustrated here in figs. 12-13 just to give the reader some idea about this richly decorated manuscript. The majority of the pages have patterns drawn from textiles and calico printing, and geometrical figures and birds play an important part in the decoration. However a constant source of inspiration to the artist seems to have been contemporary sculpture and wood work from Gujarat. From this source they have drawn the figures of dancers and musicians in countless different poses, Kinnaras, Apsarasas, gods and goddesses, processions, hunting scenes, birds and animals, rocks and monkeys, and the landscapes from another important item in the decorations. It also seems that in the decoration there appear scenes from some Jaina stories probably contained in some commentaries of the Kalpa-sutra. Another important inspiration in decoration is from Muslim sources. It may be averred here that the painter did not find his inspiration from Persian sources directly but from the contemporary Muslim culture in Gujarat and he did not hesitate to draw upon this source. In keeping with the Devasano Pado manuscript the Jamnagar manuscript originally painted at Patan has also taken recourse to elaborate compositions. The decoration sometimes is stretched to such a point that the compositions loose their coherence. However, it may be noted that so far as the Kalaka-katha is concerned the themes treated are of much greater elaboration and originality than known hitherto, the material is so profuse that one wonders whether an indigenous school synthesising the Persian and Indian elements had not come into being at least 100 years before the Mughal school. It is a bold statement to make and the opinions may perhaps sharply differ but in the face of overwhelming evidence nothing else could be said. Groups III-IV In 1526, an event of great magnitude took place. Babar defeated Ibrahim Lodi on the battlefield of Panipat and thus began a new chapter in the history of India. Inspite of the vagaries of fortune which caused Humiyun, the son and successor of Babar, to lose his throne to Sher Shah, he was able to regain it after sometime. He had however very little time to consolidate his gains. It was left to his great son Akbar not only to consolidate and unite India, administer it wisely, but also to interpret and synthesise its great culture for the benefit of posterity. Among the most significant contributions which he made may be

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366 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME mentioned his foundation of the Mughal school of painting. From the very beginning, he was struck with the possibilities of the Indian Painting as it existed in his days but he also knew that if Indian painting was to part in the composite culture which he was building up, it must be given a fresh orientation. And this could only be done if the best from Indian and Persian cultures were to be synthesised. For that purpose he invited artists from Persia and employed a large number of artists hailing from Gujarat, Kashmir and Delhi-Agra region to establish on a sound footing a national school of painting. And there is no doubt that he was successful in his attempt. Not only were manuscripts illustrated in the Imperial ateliers under the direct supervision of the Emperor, but these ateliers trained a large number of painters in the new techniques. Naturally all of these painters could not be employed in the Imperial ateliers. They had to seek their livelihood away from the capital. This migration of the painters must have started at an early date. So far as Gujarat is concerned, it seems to have taken place in the last quarter of the 16th century. However we must note one factor here. Gujarat was the land of conservatism in the field of painting. There were painters who were carrying on somewhat mechanically the formula handed down for generations. And it was no easy matter to divert them from the sacred path of tradition. The difficulty of the new movement must have been further enhanced by the conservative tendency of the patrons who were used to a particular kind of painting. However, from the available evidence it is clear that slowly but steadily Mughal technique began gaining an upper hand in Gujarat. But to do so it had to effect compromises with the firmly rooted indigenous traditions. Apparently the painters from Gujarat and Malwa and probably other parts of India accepted certain elements in figure drawing costume, etc. preferring the monochrome background and enamel-like colours for a long time. But as time advanced they began also adopting certain elements of Mughal landscape as well. But it must be acknowledged that the Mughal School could not completely change the phase of indigenous painting. The compromise effected between the two gave birth to a new mode of expression which we call the Rajasthani School. The term Rajasthani however is adopted for the sake of convenience since most of the early examples came from Rajasthan but now it has been accepted that the term is of a loose significance and not only used for paintings of Rajasthan origin but also for the paintings of Gujarat, Malwa, Uttara Pradesh, Bundelkhand etc.

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NEW DOCUMENTS OF JAINA PAINTINGS: 367 In the Mughal period again painting outside the Imperial court took two directions. In the one case, painting developed what is called the Popular Mughal School for the sake of convenience, in which the Mughal elements are simplified to a certain extent while in the second category, to which most of our illustrated manuscripts belong, was created a Folk variety of where the illustrations were cheap and therefore catered to an ever growing clientele. Here naturally the technique had to be very much simplified and the composition gave only the barest elements of the story. The Jaina Bhandaras have yielded some very interesting material of both the varieties. The earliest dated manuscript which shows an improvement in the indigenous technique under the Mughal influence is that of the Samgrahani-sutra painted at Matar in Gujarat in 1583 A.D.19 A casual look at the illustrations will convince one that in the matter of costume and in certain elements of composition including the treatment of the animal figures and trees Mughal influence is palpable. However in the use of the monochrome background in which the red, blue and carmine preponderate, in the yellow carnation, in the thickly set features of the women and men, and in the use of Mudras, the ancient indigenous tradition predominates. One thing however may be noted that in the placement of the figures those which were in parallel rows in the earlier paintings are now recesssed which gives an elementary idea of perspective. This might have been due to the Mughal influence. Naturally in keeping with the subject matter of the Samgrahani-sutra the paintings merely consist of one to four or five figures. But in some of the paintings may be seen attempts to evolve conventions which played an important part in the Rajasthan paintings. For instance in one painting which depicts the bed-room of a god with attendant figures of women a prototype has been evolved which played a significant part in the future development of Rajasthan painting. In the same way the treatment of the Tree of Lesyas (Colour plate IV, Fig. VI) shows an advance in composition and in the placements of figures engaged in different acts. All this could not have been imagined without the new knowledge. But in the treatment of the dancers and musicians arranged in a single row the older tradition makes itself felt. The chief interest however of the paintings is the treatment of the trees and animals and birds which though treated singly show a new approach which combines realistic and decorative elements. The water 19 Anand Krishna, op. cit. Marg, Vol. XI, No. 2, pp. 18-21.

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368 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME is treated in a basket pattern, the hills consist of thick zig-zag sectors, painted white, black, blue and carmine. However while the Matar-Manuscript shows how painting in Gujarat was reacting to the new conditions, a painting from another copy of the Samgrahani-sutra dated in 1587 A. D., painted at Cambay (fig. 20), shows that conservatism was still able to preserve its hold. The women in this painting are directly descended from the earlier prototypes with yellow carnation wearing the typically Indian costume with pompoms attached to the ornaments, the room where they sit has a red background and decorative hangings. Above all the angularity of the draughtsmanship shows the strangle-hold of the tradition. That the tradition was not different in the painting of the Samgrahani-sutra is evident from illustrations of a Samgrahani-sutra dated 1650 A. D. and painted at Navharnagar identified with Navghar in Bikaner State. Here the paintings verge on the folk style. The elaborateness and careful finish of the Matar manuscript is no longer there. In the hill scenes depicted in this manuscript only the primary colours are used and even the background has been eliminated. There is another manuscript of Samgrahani (undated) in which the Mughal influence, so far as figures are concerned, is very apparent. The composition however is again confined to single figures appearing in compartments with red background. The water is represented by a basket pattern and the hill by a pile of meandering lines shaded with white and pink (Fig. 32). Its provenance may be Gujarat. Such manuscripts of the Samgrahani-sutra show that there was a good demand for them, as the scenes of gods and goddesses, hells and punishment, charts of dvipas etc. were of great popular interest. While the illustrated manuscripts of the Samgrahani-sutra, following the Matar Samgrahani in the treatment of themes, became very popular, the illustrated manuscripts of the Uttaradhyayana in the new style are not so common. A manuscript of Uttaradhyayana-sutra from Anjar in Kaccha is therefore of special interest (Figs. 21-23). A significant point about the manuscript is that almost all the figures, human as well as animal, are painted in burnished gold. The background is usually ultramarine relieved by patches of red, against which the figure drawing is done. The ultramarine ground is covered with 20 Use of Pompons started earlier though it was occasional.

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NEW DOCUMENTS OF JAINA PAINTINGS : 369 flowers. The draughtsmanship, though angular, is very restrained. The face is generally in three-fourths profile though the farther cheek is very much pinched. The female figures, though not many in number, remind us of the early Bundi type. But they seem to represent the contemporary local types. Though the use of gold is not conducive to sobriety yet it gives a very picturesque effect to the composition. Obviously this satisfied the rich donor of this manuscript. Though the manuscript is not dated, it could be dated c. 1600 A.D. because the costume and the format are typically of the Akbar period. In the seventeenth century when the Mughal technique had established itself, Rajasthani styles in various forms and varieties came into existence in different parts of North India. These new styles whether based on the popular Mughal style or in the indigenous tradition influenced by Mughal style are replete with the joy of new discovery. We know that in this period Sanskrit classics like the Gitagovinda, 21 Amarusataka22 and the Rasamanjari23 were being illustrated but so far illustrated manuscripts of Kalidasa's works were not available. Though works on poetry were being copied and illustrated in Gujarat, Marwar and Malwa, U. P. also seemed to have become an equally important centre. An illustrated manuscript of the Kumarasambhava, unfortunately incomplete, was painted at Nautanpur (which should be somewhere in Western U. P.), in the year V. S. 1701 = 1644 A.D., written by a Jaina which shows that the Jainas of the period illustrated their books in what is known as Popular Mughal style which is a very happy combination of indigenous and Mughal traditions24. The background is saffron, green, pink and red. In three paintings at least this background is relieved by an introduction of picturesque landscapes consisting of decorative flowering trees, birds, variegated hill, and in one case a river in the foreground. In two paintings, however, following the older tradi mmmmm 21 Khandalavala, Karl, A Gita-Govinda series in Prince of Wales Museum, Bulletin of the Prince of Wales Museum, No. 4, pp. 1-18, and plates. 22 Moti Chandra, An illustrated set of the Amarusataka, Bulletin of the Prince of Wales Museum of Western India, No. 2, 1951-52, pp. 1-63 and plates. 23 Khandalavala and Moti Chandra, The Rasamanjari paintings in Basohli school, Lalit-kala, No. 3, pp. 26-38 and plates. 24 For a late illustrated manuscript of Sakuntala see, Adris Banerjee An Illustrated Hindi Manuscript of Sakuntala dated 1789 A. D., Lalit-kala, Nos. 1-2, pp. 46-55 and plates. GJ.V. 24

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370 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME tion, the background is plain. Both the male and female types confirm to the Popular Mughal type. The figures are carefully drawn and the women usually wear transparent cadars, and colis, coloured skirts and ornaments. The sky is always painted as cloudy. The combination of the subtle colour scheme, the landscape, and the dainty female figures bring out the spirit of the Kumarasambhava (Fig. 25).25 Another manuscript of Kumarasambhava, preserved in the National Museum, New Delhi, is dated in V. S. 1732-1675 A.D. The illustrated copy of the Meghaduta painted in 1669 A.D. at Asanikotta which could be identified with Asani near Jaunpur is another interesting document which shows that the so-called Rajasthani style had travelled as far as Jaunpur in eastern U. P. in the seventeenth century A. D. Historically speaking Jaunpur seems to have been an important centre of painting as exemplified by the Kalpa-sutra dated 1465 A. D. from the Hamsavijaya collection. But it is not known how in the course of two centuries painting in Jaunpur developed. From this manuscript however it is evident that Jaunpur must have been a strong centre of painting at least in the 15th to 17th century. It is interesting to note that the Meghaduta miniatures are not in the Popular Mughal style but in a very picturesque local style. The composition is either divided into panels or represented as a unified composition. The background is usually red with patches of yellow in one case. Both male and female figures are rather short and shown as pink in complexion. Women wear the typically Rajput female costume, which is trimmed with pearls. The painter has shown a real feeling for landscape. In one case a peacock is shown cawing on a tree, in a second place the Yaksa seated in a mountainous landscape under a tree is offering flowers to the clouds, in a third place in a garden of Alaka the Yaksi is playing music and in another place a monkey is shown. climbing a tree. As a matter of fact a very happy combination of colours, landscape and draughtsmanship bring out the lyrical spirit of the Meghadata. 25 Compare, Khandalavala and Moti Chandra, Collection of Sir Cowasji Jehangir-Miniatures and Sculptures (Bombay, 1965), p. 17 and colour plate illustrating a folio from the Gita-Govinda in Popular Mughal Style. Also see, Khandalavala, Moti Chandra and Pramod Chandra, Miniature Paintings from Shri Motichand Khajanchi Collections, pp. 26-29 and figs. 22-25; colour pl. B and frontispiece.

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NEW DOCUMENTS OF JAINA PAINTINGS: 371 The story of Naladavadanti had also become very popular in the seventeenth century and there are at least two sets known in the Popular Mughal style, probably from Gujarat. One of these is in the collections of Prince of Wales Museum, Bombay (Fig. 36) and dates from about c. 17th Century A.D. while the other is in collections of Muni Sri Punyavijayaji (Figs. 38-39), written on thick brittle paper. In the painting where Nala as a Kubja (hunch dwarf) is driving the chariot of Rituparna to Kundinapura to attend the pretended Svayamvara of Damayanti. The landscape is represented by a couple of trees painted in Mughal style with a plain light blue background. That this Popular Mughal style was not confined only to U. P. but was also followed by a section of artists in Gujarat and Rajasthan and Malwa is apparent from the picture in which the chariot and the trees. are depicted in Mughal style. The monochrome background however shows that it belongs to the Popular Mughal style. Male costumes show cakadar jama and the figures imitate the work of Salivahana, who is known to have painted a Vijnaptipatra for the Jainas25, A page from Krisnaveli shows that at times in Rajasthan, Marwar, and also Gujarat even in about 1650 A. D. the liveliness of the early paintings in colours, landscape and draughtsmanship is preserved. (compare fig. 29). An appropriate background is provided for Krisna's dance by conventional trees and animals and the lotus flowers growing in the Jamuna in the foreground. Another manuscript datable to the first half of the seventeenth century done in the new style influenced by the Mughal school is the illustrated manuscript of the Jambudvipaprajnapti-prameya-ratnamanjusa-tika dated about 1604 A. D. The background is generally blue and red and the action takes place on the same plane. However the earlier simplicity gives place to a more complicated composition in which sometimes the predetermined places of the characters import an ideal of simple perspective to the painting (Colour plate VI, Fig. X). However in the miniature depicting the of meeting two Jaina monks, the composition follows an older convention. The use of mica is noteworthy. Groups V-VII In the seventeenth century the Rasas containing different Jaina stories became popular. The illustrations are generally of folk variety 26 Pramod Chandra, Ustad Salivahana and the Development of Popular Mughal Art, Lalit-kala, No. 8, pp. 25 ff., and colour plate A.

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372 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME with the result that only a few figures painted against the background indicate the stories. There are three manuscripts of Candarasa, one painted in 1712 V.S. (= 1655 A.D.) at Vyaghrasenapura, another painted in V. S. 1716 ( = 1659 A.D.) at Surat and a third painted in Poona in 1812 A.D. The Candarasa or Sri Candarasa painted at Surat however is of greater interest as the figures are more carefully painted and the action as shown in the battle scene is vigorous. Most of these pictures bear labels which inform us about the incidents. The monotony of the usually red background is enlivened by the introduction of the flowering plants. The importance of this Surat manuscript lies in the fact that it shows the datable evidence of Gujarati (probably) Folk-style of the seventeenth century. Another complete manuscript of this style, this time the Hindu Durga-sapta-sati, painted at Surat in V. S. 1776 (= 1719 A.D.) is preserved in the Prince of Wales Museum, Bombay (Fig. 28): In the second half of the seventeenth century Marwar and its contiguous area consisting of the former states of Sirohi, Jodhpur and Bikaner developed their individual modes of expression. All kinds of subjects, including the Rugini paintings, Durgamahatmya and Jaina manuscripts, were being painted. From the available evidence it is evident that the former state of Sirohi was also an important centre of painting. At least the Vijnaptipatra of 1737 A.D. from the Khajanchi collection (Fig. 27) is a sort of a sheet anchor for suggesting the provenance of a group of paintings to which may be added the illustrations from a manuscript of Durgamahatmya in the collections of the Prince of Wales Museum and a set of Ragini paintings distributed in the various collections including the Prince of Wales Museum (compare for example the Vibhasa Ragini of c. middle of eighteenth century in the Prince of Wales Museum, No. 57.1627). Though again it is difficult to be sure whether these paintings are from Sirohi or south-west Marwar, the finest illustrated manuscript in the Sirohi-Marwar style is the manuscript of Upadesamala Balavabodha from Devsano Pado dated in V. S. 1765 (=1708 A.D.). The paintings, though of a small format, try to illustrate some 27 Also see Lee, Sherman E., Rajput Painting (New York, 1960), pl. 22, illustrating a scene from Pancakhyana (wrongly labelled as marriage procession but depicting a scene of festivity on the river bank and referring to a story of a Kolika getting enamoured of a princess). This painting shows much affinity with the Sirohi School.

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NEW DOCUMENTS OF JAINA PAINTINGS : 373 central points of each story. But one must know the story fully before identifying the incidents. In some stories the painter has followed the text almost in a short hand manner combining one or two or even three incidents of a story without following any order. Ordinarily the paintings are divided into panels with monochrome background in which the colour patches are used, or the pictures are composed without any decision (Figs. 24-26). The colours are enamel-like : red, lacquer red, deep blues, yellows, carmine, brown, etc. are used with a grand effect. The figures are generally short in stature but the features both of male and female are well rendered. The eyes are large and pointed and the nose is sharp (Coulur plate V, Fig. VIII). There is nothing unusual in the costume which is of the early eighteenth century Rajasthani type except that the turbans are definitely of the Jodhpur type (figs. 25-26). Though in most of the paintings landscape hardly plays any part in some of these the painter has shown a real understanding of the landscape (Colour plate VI, Fig. IX). The trees with a very thick foliage show a pleasing realism. The water is treated in a naturalistic manner and the treatment of the hills in mass recalls later Mughal tradition. The animals are represented mostly in a realistic manner. Independent landscapes are rather rare in Rajasthani painting but in one folio at least landscape without human figures is represented. As a matter of fact it is marvellous that within a very restricted space the painter is able not only to give a convincing landscape without any human figures or even with human characters. Another distinguishing feature of the miniatures is that while most of the Rajasthani paintings are static the Upadesamala characters are animated with a spirit of action which is the keynote of the stories. We have illustrated here two more manuscripts, one of HaribalaCaupai (dated in V. S. 1744 = 1687 A. D.) (Fig. 35), painted in Dhar in Malwa and the other of Sri-Cand-rajano-Rasa (dated in 1812 A. D.) painted in Poona (Fig. 40) as dated evidence of painting in the above regions. They also show the continuity of art traditions in these regions in the seventeenth and the nineteenth centuries.

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Catalogue GROUP I Kalpa-sutra and Kalaka-katha manuscript dated Samvat 14031346 A. D., in the Collections of Muni Sri Punyavijayaji Paper, Size: 28 x 8.5 cm. Six lines on each page. Total folios 132. On folio 132 A, we have an entry in the margin, perhaps by another hand: Samvat 1403 (V. S. 14031346 A. D.); on folio 99b, where the text of the Kalpa-sutra ends, we have in lower margin, the following inscription :- zrI vikrama saMvat 505 varSe zrImahAvIracitko pratiriya (yaM) muktA fat which means that in the year 1505 of the Vikrama Era, this manuscript was deposited in the Mahavira Bhandara. This means that the manuscript was written and illustrated at an earlier date and that somebody had purchased this manuscript. in Samvat 1505 (1448 A. D.) and deposited in the Mahavira Library (Citkosa). Perhaps the real date of the manuscript appears in the Iower margin of folio 132b as Samvat 1403 (=1346 A. D.) and the possibility is that the last folio of this manuscript which might have. contained an elaborate description of the original donor, provenance, date, etc. was perhaps mutilated and that somebody had added the inscription (on folio 132b) to preserve the date before the mutilated. page was lost. There is a possibility that this later addition of the date was made when the last page which perhaps contained the Prasasti of the donor disintegrated. That the date is not forged is apparent from the

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NEW DOCUMENTS OF JAINA PAINTINGS : 375 other external evidences, such as the size, the writing, the number of lines of the folios etc. Folio 36 B: Birth of Mahavira. In the lower panel, Trisala is lying on bed with an attendant standing on the right. She is dressed in a green coli and a patterned skirt and cadar. Red background; the halo painted on blue background. In the top panel, Indra is carrying the baby Mahavira in his hands. He is accompanied by Chatra-and Camara-bearers and musicians. This scene gives an individual interpretation of the theme and is full of movement. Apparently it is a convention in this painting that though figures are painted in gold the faces are set out by using an indigo blue background. So far the fourteenth century illustrated manuscripts are known to have used gold sparingly, but this manuscript seems to be an exception. The draughtsmanship is almost the same as the draughtsmanship in other fourteenth century manuscripts. Size : 7x 8.5 cm. (Colour plate I, Fig. 1) Folio 3 A: Fourteen Dreams of Devananda. In the upper panel appear the fourteen dreams, namely the elephant, the bull, the lion, flower garland, Laksmi, a standard, the lake, the ocean, the simhasana and vardhamana. The symbols are very delicately painted in gold on red background. In the lower panel Brahmani Devananda is sleeping on a golden cot, holding a lotus in her left hand. In one corner may be seen a flower pot. Red background, with a blue strip apparently intended for clouds. The draughtsmanship is soft and pleasing. The extension of the farther eye in no way detracts the composition. The nose and the chin are pointed and the smiling tips are tinted red. Size : 7.2 x 8.5 cm. (Fig. 2) Folio 99 B : Jaina monk with disciples and laymen. The scene is laid in a monastery. On the left a Jaina acarya is shown seated on a golden simhasana preaching to the congregation. In front of him is the sthapanacarya. There are eight men and women among the devotees. The disciple holding a manuscript scroll in his hand is seated on a round blue gaddi. Red background. All the figures are painted in dull gold which does not disturb the view. The figures follow their prototypes painted on early Jaina

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376 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME wooden panels. The monk has a very noble appearance; the figure though somewhat exaggerated is very carefully drawn. The white and slightly red eyes with black pupils are realistically drawn. The room is furnished with bandanvars (hangings). The lintel copies some wooden prototype. Segments of blue edged with gold represent the sky. Size : 9x 8.7 cm. Folio 113 A : Siddhartha and Trisala. Siddhartha wearing a blue-flowered dhoti, an uttariya and ornaments is seated on a golden cauki, holding a sword. Facing him is seated Trisala on a golden stool wearing a coli, hamsa-dukula and ornaments. A red background with strips of blue edged with gold perhaps indicate room hangings. Size : 8.7 x 6 cm. Folio 132 A : Kalakacarya with four-handed Indra. The scene is laid inside a monastery. On the left Kalaka is seated in a golden throne furnished with a blue cover. In front of him lies the sthapanacarya. On the right stands the four-armed Indra offering his salutations to Kalaka. Golden room hanging; red background with strips of blue edged with gold indicating clouds. Size : 9x7 cm. (Fig. 3) Kalaka-katha, circa 1430 A.D. from Collections of Muni Sri Punyavijayaji. Size : 29 x 10 cm. Total Folios : 26 No colophon or date. On the basis of two illustrated manuscripts made at Mandu in the fifteenth century it could be said that it was an important centre of art. The earliest Mandu manuscript of the Kalpa-sutra is dated 1439 A.D. It proves that Mandu painting, though actually influenced by the Western Indian tradition was not a mere carbon copy of the School of Patan28. The illustrations show that in the colour scheme, draughtsmanship and compositions, the painters of Mandu had evolved their own conventions. The draughtsmanship is of a very superior quality; the colours are enamel-like and the landscape is mostly confined to variegated clouds treated dramatically. Fortunately this limited material on the School of Mandu is further augmented by an illustrated copy of the Kalakacarya-katha in the collection of Muni Sri Punyavijayaji which compares favourably with the 1439 A. D. Mandu manuscript of the Kalpa-sutra29.

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NEW DOCUMENTS OF JAINA PAINTINGS: 377 Folio 24: Meeting of Kalakacarya and Indra in the garb of a Brahmin. In this picture Kalakacarya and the features of the Mandu School are apparent. The background is deep red; the carnation is yellow; the draughtsmanship is careful and the details of furniture are rendered carefully. The variegated hanging clouds as in the Mandu Kalpa-sutra complete the picture. Size: 6.2 x 7 cm. approx. Folio 4 B: Kalaka and Garddabhila. The illustration shows Kalaka preaching to King Garddabhila. Both are seated on thrones with a chatra (umbrella) between them. and stylised trees behind. In the foreground are an elephant, a horse and three miniature trees. Note the skyline of heavy clouds. Red background. Size: 9x9.8 cm. (Fig. 4) Folio 12 B: Defeat of Garddabhila and bringing him in captivity before Kalaka. The illustration is divided into two panels, the upper one, representing Garddabhila on the right, on city ramparts, with the braying she-ass in front, which latter is being shot with arrows by the Sahi king and his soldier. The lower panel illustrates the scene of Garddabhila being brought in captivity by the Sahi king before Kalaka seated on throne. Note the costume of the Sahis which must be that of contemporary Muslim courtiers at Mandu. Yellow carnation of Kalaka and Garddabhila, and pinkish red of the Sahis wearing blue, green and yellowish jamas. Size: 7.5 x 10 cm. (Fig. 5) GROUP II Satrunjaya Mahatmya (c. 1420 A. D.) from Collections of the L. D. Institute of Indology, Ahmedabad, (Sagara, No. 285). Size: 30 x 11 cm. approx. Total folios: 227. No colophon, but written possibly in circa latter half of the fourteenth century A. D. or before c. 1420 A. D.; only the Prathama-Khanda of the 28 Khandalavala and Moti Chandra, A Consideration of An Illustrated manuscript from Mandapadurga (Mandu), dated 1439 A. D. LalitKala, No. 8, pp. 8-29 29 Pramod Chandra, Notes on Mandu Kalpasutra of A. D. 1439, Marg, Vol. II, No. 3, pp. 51-54.

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378 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME whole Satrunjaya Mahatmya composed by Dhanesvarasuri is available in this Manuscript. Folio 153 A: Bharata looking into a mirror and obtaining Highest Knowledge.. The above title is suggested by an inscription in the margin which reads :--37 STREET H IT! Divided into two panels, the lower panel shows a big mirror placed on ground in front of which stands Bharata Cakravartin (Bharata, the World Conqueror) fully dressed after his bath, looking in the mirror. After finding the ring loose on his finger, he thinks of old age and of the evanescence of life and its pleasures. The upper panel seems to represent Bharata offering his prayers to the Lord. Behind him stand his two queens. This may possibly represent a scene after he decided to become a monk. Red background. Note the superficial use of gold and mica used for white in certain cases. Mica is also used in the santinatha Caritra manuscript dated 1453 V. S. (= 1396 A. D.) In the left margin of this is a small figure seated on a big lotus. He appears like Pundarika the chief ganadhara of Kisabha, or the figure may also represent the monk Bharata after he had attained Kevalajnana. Size : 7x11 cm. (Colour plate I, Fig. II) Santinatha Caritra dated 1453 V. S. (= 1396 A. D. from collections of the L. D. Institute of Indology, Ahmedabad (No. Sagara, 285). Size : 26.4 x 11.2 cm. Total folios : 156 The work was composed by Ajitaprabhasuri, pupil of Viraprabha who was the pupil of Tilakaprabhasuri, in V. S. 1307 (= 1250 A. D.), probably at Candravati near Abu, according to Prasasti verses at the end. Colophon : Later in different writing and light black ink is written-FT 8863 QAT HTA I igrut faettaat ua O XXXXX ya xxxharAja DADhA samasta kaTuMba yutena zrI siddhAntI gacche zrI nANacandrasUri tatpaTTe ajita upadezena zrI zAMtinAthacaritraM likhArpitI / graMthAgaM0 4911 // In the Samvat year 1453, on the fifth day of the bright fortnight of the month Vaisakha was written sri-santinatha-Caritra....... The folios have a big red circle in either margin and a third in

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NEW DOCUMENTS OF JAINA PAINTINGS : 379 the centre showing the survival of the palm-leaf tradition in the beginning of the paper manuscript period. The date given above, in a different handwriting, could be taken as the lower limit if not the original date of this copy. However Moti Chandra assigns it to the late 15th century A. D. Folio 111 B : Samavasarana of santinatha. The Jina in the centre is in light yellowish red, the central fortification of the Samavasarana is in gold. Red background. Size : 6.9 x 10.5 cm. (Frontispiece) Folio 106 B : Fourteen dreams of the mother of santinatha. This is a very common theme in the Kalpa-sutra miniatures. The fourteen dreams are shown in the two upper panels. The lowest panel represents the queen lying on a cushioned bed over which is shown a long bed-spread. This mode of representing the bed-spread, is especially noteworthy. As this characteristic appears in the 1439 Mandu Kalpa-sutra, also note the pointed sari ends. The manuscript was very probably painted in Gujarat, at Patan. Size 9 x 11.2 cm. Folio 107 A: The Parents of Santinatha. The mother of Santinatha reports her dreams to her husband and the interpretation offered by astrologers. In the upper panel are shown the king and queen on the cushioned seats, conversing. Red background. In the lower panel are seated two prognosticators interpreting the dreams. They are represented as bearded Brahmins wearing the sacred thread. The one on the left is writing or drawing up a chart, the other is holding a book. Folio 107 B: Birth of santinatha and his first bathing by Gods. The scene is divided into two panels. The upper panel shows the mother of the Jina on a bed with the child by her side, attended by a maid. The small blue and white end of a canopy is shown in one corner. In the centre is hung a pot of milk or curds which indicates some contemporary custom of the labour-room. The mother wears a pink scarf, a green choli, and a pink lower garment. She has a circular tilaka-mark on forehead. The scarf of the maid, is blowing behind her head, a convention which is more marked

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380 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME later in the Mahapurana and Kalpa-sutra from Yoginipura published by Moti Chandra and Khandalavala.30 In the lower panel, the lavation of the Jina is performed by the gods and Indras on the Mount Meru. Red background and the sky line on two ends. Folio 111 A : (Right end) Varsikidana of santinatha. (Left hand) Diksa of santinatha. The small panel on the right end of the folio depicts Santinatha sitting on a raised throne shaded by an umbrella. He is giving alms to a Brahmin carrying a stick, and standing in front, a small figure of an attendant is shown in the background. The treatment of figures in the background, shown above the figures in the foreground, reminds us of the Mandu style Kalara-ratha discussed above. The treatment of the figure of the Brahmin is typical and very common in Kalpa-sutra paintings and the miniatures of the Balagopalastuti from Western India. Note the sky line in the corner which again is met with in the Mandu style Kalpa-sutra and Kalaka-katha manuscripts referred to above. Size: 10.1 x 6.8 cm. approx. On the left end corner is illustrated in a small panel, the Diksa (renunciation) of santinatha; wherein the composition is artistically divided into two halves by the long stem of a stylised tree, on one side of which sits santinatha plucking out his hair while on the other side sits Indra receiving the hair in his open palms. Mark the different treatment of the skyline. Red background. Size 10.1 x 6.2 cm. approx. (Fig. 6) Damayanti-katha-campu from the collections of the L. D. Institute of Indology (Nagarasheth collection, manuscript No. 2134). Size : 31.5 x 10.5 cm. Incomplete manuscript. This long paper manuscript, whose folios imitate the size of the palm-leaf with three red dots in the centre and the two margins, suggests the survival of palm-leaf manuscript tradition. The manuscript is in a bad state of preservation with its two paintings partly worn out and defaced. The work is a Katha written in Campu style with passages in both prose and verse form, composed in Sanskrit by Trivikrama. Trivikrama was a Hindu writer who invokes Gauri and Siva in the opening verse. www 30 Refer to Khandalavala and Motichandra, Three New Documents of Indian Painting. Bulletin of the Prince of Wales Museum of Western India, No. 7. 1958-62, pp. 23-31.

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NEW DOCUMENTS OF JAINA PAINTINGS : 381 The illustrations show the beginning of the Vasanta-vilasa tradition. On the evidence of the size, the paper and the script of the manuscript it may be dated with confidence between 1400 and 1425 A. D. All characteristics of the Western Indian palm-leaf Jain miniatures, such as the farther projecting eye, the pointed nose, the squarish face etc. appear. Folio 1 A: Siva and Parvati. Siva and Parvati invoked in the opening verse of the text. Siva wears the jata-mukuta, a snake on his neck, and holds the trident in one of his four hands. Parvati is seated by his side. She wears a crown, ornaments, a coli of light green, a scarf and a lower garment. She has a circular tilaka mark on forehead. Red background. Size 8.6 x 10.5 cm. Folio 2 B : 1. Bhima, the king of Vidarbha, holding court 2. Bhima in consultation with his queen. The illustration is divided into two panels. The upper panel shows Bhima with beard and long hair seated on a Cauki on the right. In front stand two bearded attendants. Red background. In lower panel appears Bhima on a wooden seat with a back-rest, conversing with his queen. Red background. Colours: blue, blue-black, black, green, carmine etc; sparing use of gold in crowns. Size 8.7 x 10.5 cm. (Fig. 7) Kalpa-sutra dated 1547 V. S. (= 1490 A. D.) copied at Vadnagara (North Gujarat) by a scribe (Vachhaka) of Patan, from the collections of L. D. Institute of Indology, Ahmedabad (No. 4561). Size : 26 x 11 cm. Total folios : 130 Colophon : Written at the instance of some members of a Nagara family (Prasasti, Vv. 1-5). #9 848 FZ glas? ferat ferred maMtri vAchAkena // zrIpatanivAstavya / / ch|| zrI zubhaM bhavatu ||ch|| kalyANamastu ||ch||shrii|| In Samvat 1547 on Sunday, the twelfth day of the bright half of Jyestha was this copied (i. e. was completed the copying) by Mantri (minister) Vachhaka, native of Patan. May good accrue. May there be well-being. Three dots in a page and red marginal lines. Folio 70 A : Gautama-Ganadhara. Labelled in margin as Gautamajnana, the picture shows Gautama Ganadhara on seat with a back-rest, in a monastery decorated with

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382 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME cloth (a candaravo). Before him lies the sthapanacarya31 and a pupil is seated nearby. In the foreground appears another disciple. Gold used in tapestry; ultramarine background. Size 11 x 6.7 cm.. Folio 73 B : Kamatha Tapasa and Parsva. The upper panel shows the hermit Kamatha practising penance surrounded by five fires. Deep ultramarine background. The lower panel shows young Parsva with a snake; behind him stands a servant. Size : 7.5 x 10.5 cm. Folio 107 A : Vajra in his cradle. The child who later became the great Jaina monk Vajrasyami is depicted here as sitting in cradle and attended by a Jaina nun sitting by the side of the cradle. Most of the figures are painted in gold, blue background, occasionally red and black background.32 Size : 7.5 x 10.5 cm. (Colour plate II, Fig. III) Ta Uttaradhyayana-sutra copied at Patan (North Gujarat) dated 1549 V. S. (=1492 A. D.) from the Collections of Muni Sri Funyavijayaji (No. 1/30). Size : 30.4 x 11.9 cm. Total folios : 91. Colophon : In the handwriting of the scribe of this manuscript, written in black ink on f. 91, is the following entry-99 $489 et Ath a PX ITI uttarASADhA nakSatre / In the Samvat year 1549 (= 1492 A. D.) in the month of Pausa, the 14th day of dark fortnight, on Thursday, in Uttarasadha asterism. Later on in a different handwriting in red a long entry is made which says that in Samvat 1599, the Saka year 1464, Dosi Bhada, his brother, wife and son and a Sravika named Ladiki presented a copy of the Uttaradhyayana sutra to their teacher at the behest on Punyaprabhasuri providing with an avacuri or annotation (savacurimayi likhapya). The donors, belonging to the srimali caste, were residents of Patan. Since two clear dates appear the reasonable inference would be that the original copy was written and painted in 1549 V. S. (=1492 31 For Sthapanacarya, see, Shah, U. P., Studies In Jaina Art (Banaras, 1954), pp. 113-115. 32 Compare for treatment of this theme, Brown, W. Norman, A Descriptive and Illustrated Catalogue of Miniature Paintings of the Jaina Kalpasutra (Washington, 1939), pp. 59, 61 and figures 142, 143,

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NEW DOCUMENTS OF JAINA PAINTINGS : 383 A. D.) and that fifty years later Bhada and others who bore the expenses, got a short commentary added to it. Folio 7 A: Evils resulting from idleness and procrastination. The Uttaradhyayana, ch. 4, verses 3-7 state that a wise man must always be alert like the (mythical) Bharanda bird. The topmost panel represents a gateway with a goose in the centre. Red background. In the central panel a monk is resting on a cot and therefore appears idle. In the lower panel, on the right, is the double-headed Bharanda bird, there is a kalasa in the centre and on the left end sits a monk who is alert. The monk's robe was painted silver of which only traces remain. Gold is used sparingly in the pilasters, the treatment of pavilions etc. Size 6.2 x 11.9 cm. (Fig. 8) Folio 19 A : An incident from the story of Muni Harikesi Bala. Bhadra, a princess, requests Muni Harikesi Bala (meditating in a standing position), to marry her, but the monk refuses. Three people shown by the side of the rivulet on the left represent the ignorant people who used to scoff at that ugly monk belonging to the Candala caste. Compare figs. 37, 38, 39 and 40 published by Prof. W. Norman Brown in Manuscript Illustrations of the Uttaradhyayana-sutra33, where the scenes are differently represented. Red background. Size : 7 x 11 cm. approx. Folio 46 B: Kesi and Gautama conversing. The story of the dialogue between Kesi and Gautama, the followers of Parsva and Mahavira respectively, is narrated in the Uttaradhyayana-sutra, ch. 23. Cf. Norman Brown, op. cit., figures 89, 90, 91. The representation of the flamboyant rock is noteworthy. Mica used in garments of the monks. Red background. Size : 7.6 x 11.9 cm. (Fig. 9) 33 Brown, W. Norman, Manuscript Illustrations of the Uttaradhyayana sutra, (New Haven, 1941) figs. 37-40, pp. 17-18.

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384 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Folio 8 B: Ksullaka Nirgrantha. Probably the story of an ordinary (ksullaka) monk (Nirgrantha): The scene refers to ch. VI of the Uttaradhyayana-sutra and depicts a Jaina lay woman in the act of giving alms to two Jaina monks standing in front. The first monk seems to be the teacher while the second one is a disciple, an ordinary monk who does not fully adhere to the rules laid down for monks in receiving alms of rich or costly, delicious recipes. Between the monks and the lady are shown three utensils full of the delicious preparations. Note the treatment of the pointed end of the suri of the rich lady34, Size : 7.2 x 11.9 cm. approx. Madhavanala-Kamakandala Katha dated in V. S. 1550 ( = 1493 A.D.), written at Patan, collections of Muni Sri Punyavijayaji (No. 1/81). Size of Manuscript : 25.3 x 11.5 cm. Total folios : 26 Language : Sanskrit with interspersed old Gujarati prose. Colophon : iti mAdhavAnalakAmakaMdalAsaMyoga kathA saMpUrNA samAptA // svasti zrI saMvat 1550 varSe vaizAkha vadi 11 gurau adyeha zrIpattanamadhye prAgvATajJAtIya gAMdhI somA suta gAMdhI sivA putra gAMdhI SImA hemA appA lippitA paThanArtha ||ch|| Here ends the story of union of Madhavanala (and) Kamakandala. In Samyat year 1550, on Thursday the eleventh day of the dark fortnight of the month of Vaisakha, to-day here in the city of Sri-Pattana, was this copied by Gandhi Khima (and) Hema, the son of Gandhi Siva, the son of Gandhi Soma of Pragvata family, for his own reading (study). Condition fair with edges worn out. This dated and illustrated manuscript, in the tradition of the Vasanta-vilasa scroll35 was painted at Sri Pattana, i. e. Anahilavada Patan, North Gujarat. The illustrations of this manuscript are better preserved than those of the Damayanti-Katha. Of the Madhavanala-Kamakandala story, several illustrated scenes are known three of which are published in the Catalogue of Paintings in Shri Motichand Khajanchi Collection, Fig. No. 24 and colour plate B, pp. 27-29, and assigned to only seventeenth century A.D. Like Vasanta-vilasa the Madhavanala-Kamakandala-Katha is of a secular nature. Folio 13 A : Kamakandala suffering the pangs of separation. The illustration covers the full length of the lower half of the page; in the upper margin appears the label: "Kamakandala tormented 34 Compare Brown W. Norman, op. cit., Figs. 15-16, 26, 86-87, 135. 35 Brown. W. Norman, The Vasanta-Vilasa, pp. 145 ff.

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NEW DOCUMENTS OF JAINA PAINTINGS : 385 by the pangs of separation is lying in a forest, her friends persuade her to get up." Beginning from the right end, one of the confidantes of Kamakandala is extending her hand to support her. It may be noted that odhanis of all the female figures in this illustration stand out baloonlike at the back of their head; the pointed and fan-like ends of the lower garment may also be noted. The women wear ornaments, colis, scarfs and skirts. The two women on the right carry cups filled with some potions to refesh the heroine. Red background. Note the extended farther eye, the long-drawn collyrium lines, thick eyebrows, and big circular ear-rings. Size : 20 x 6 cm. (Fig. 10) Folio 13 B: Kamakandala conversing with her confidantes. Kamakandala is seated on the left. The confidantes appear on the right. Kamakandala is wearing a red-dotted white scarf, a green coli and white lower garment with blue design. Red background; a wavy white and red sky line in one corner represent the sky. Note the sad face of Kamakandala and the eager expression of the two confidantes trying to please her. A label on top margin reads : bad an eta aed 35 | Hahana que a vAta haiAnA dukha x kahai cha / / Kamakandala sits putting on white garment. The confidantes inquire about her trouble), she tells them her heart's anguish. Size : 9 x 9.5 cm. Folio 20 B: The king showing Madhava several young girls for his selection as a bride. The picture shows the bearded king seated on the right holding a sword. Before him stands Madhava; by his side stand two beautiful young girls. The king has a U-shaped tilaka-mark on forehead. Red background. Size : 14.6 x 7.7 cm. Folio 24 A : King Kamasena conversing with the two messengers of Vikramaditya captured and brought before him. The hands of first messenger are tied with those of the other standing behind. The king is seated in front of them. Red background. Size : 12.5 x 7.5 cm. GJ.V. 25

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386 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Folio 24 B: Vikramaditya fighting with the army of Kamasena to win over the latter's daughter for Madhava. Vikramaditya is attacking the city of king Kamasena. The scene shows two bearded warriors on either side, fighting with swords and shields. Red background. Size : 20 x 8 cm. approx. (Fig. 11) Candraprabha-Caritra composed by Devendra Suri dated 1555 V. S. ( = 1498 A.D.), at Patan, from collections of the L. D. Institute of Indology, (Nagarsheth No. 21. 36). . Size of Manuscript : 30 x 10.2 cm. Totol folios : 198 Colophon : The end reads--a: Tall 888x ma fan and then added in margin in smaller handwriting : TT #Sytsaaria afa kRtam // cha / 2161 sarvasaMkhyA 5325 // cha / saM0 1555 vaizASa vadi 4 some laSitaM // zrIpattane Ci 11 It means that this Carita work was composed in Somesvarapura in V.S. 1264 = 1207 A. D. the copying of this manuscript was completed on Monday, the fourth day of the dark half of Vaisakha in the Samvat year 1555 (= 1498 A. D.), in the city Sri-Pattana (Patan). Then in red ink in the margin-sAha zrI vacchA suta sAha sahasrakiraNena pustakamidaM gRhItaM suta sA0 varddhamAna zAntidAsa paripAlanArtha. This is a later entry in different hand. Three red dots, two in margins and one in centre, in each page. Thick red border lines with black thin lines typical of the age (c. 1500 A, D.). Obviously it seems that this last line on folio 198b was copied from folio 199a (now lost, but could have existed once) which might have been torn or ruined. The Satrunjaya Mahatmya and this work are copied on the same size of papers and the style of writing is almost similar. Folio 126 B: Marriage of Candraprabha. A well-decorated marriage pavilion supported by pillars, to the right and left of which stand two Brahmanas and two women. The bride and bridegroom stand in the centre of the mandapa surmounted by two peacocks and two plaintain trees. Red background. The lowermost panel has a row of hamsas. Mica is used to show the whiteness of the body of Candraprabha. Note the beautiful patterns on the skirt and the dhoti. Colours used are green, black, mica, red. Size : 7.4 x 10.4 approx. (Colour plate II, Fig. IV) M :

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NEW DOCUMENTS OF JAINA PAINTINGS : 387 The Kalpa-sutra and Kalaka-katha dated V. S. 1558 (1501 A. D.) painted at Patan from the collections of Ancalagaccha at Jamnagar. Size : 27 x 11 cm. Total folios : 151 of Kalpa-sutra and 13 of Kalaka-katha. The manuscript has, on folio 151 at the end of the text of the Kalpa-sutra, a colophon which reads : saMvat 1558 varSe zrIpattane zrIkharataragacche zrI pUjya jinaharSasUrivijayarAjye AcArya zrI vivekaratnasUriziSya zrI sAdhuharSopAdhyAyai zrI suvarNakalpapustake lekhyAMcakre jyo (?) vadUAkena likhitaM In the Samvat 1558, in the city of Sri-Pattana, in the Sri Kharatara Gaccha in the reign of (i.e. when Sri Pujya Jinaharsasuri was the chief pontiff of the group of Jaina monks known as Kharatara Gaccha) Sri Sadhuharsa Upadhyaya the pupil of Acarya Sri Viveka-ratna-suri, got this golden Kalpa text written by Jyotishi (?) Vaduaka. We hope to publish and discuss the illustrations of this manuscript in greater detail in future when we are able to study the manuscript in the original. Folio 9 A : Border decorations of the Kalaka-katha (mostly soldiers in various attitudes). The text on this folio is written in gold on a dark blue background with all the four borders showing figures of different soldiers of the Sahi king. Obviously the soldiers represent contemporary soldiers in the service of the Sultans of Gujarat, following the Islamic faith. They wear typical big turbans and long jama and carry daggers, swords etc. In the right hand margin of this folio, upon a red background, are painted in the uppermost compartment a pair of soldiers of whom the one with the pinkish jamas appears to carry a gun. In the central compartment of this border decoration is a soldier on a galloping horse also probably carrying the gun. In the decoration of the borders of the different folios of this Kalaka-katha we find a representation of soldiers in various attitudes, talking, resting, shooting, blowing pipes, riding horses and so on. Persian influence in the illustrations of manuscripts from Gujarat is probably not direct but is reflected through the contemporary life of the Sultans of Gujarat and their courtiers. The miniatures and border decorations of this manuscript as also of the Devasano Pado manuscript clearly suggest a blending of Persian and Indian elements by the painters of Gujarat. Indian artists have always shown a habit of blending foreign elements in their art without giving up the old heritage. Size : 27 x 11 cm. .

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388: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Folio 4 A Game of Gendi-dada (Border decorations of the Kalakakatha. The border decorations of this folio on its four sides as also in the central margin again illustrate Muslim soldiers in various attitudes, but the principal theme of illustration is the game of ball and stick (gendi-dada), referred to in the text. According to the story when young boys (of the Sahis) were playing this game the ball fell in a well. The Sahi soldiers could not succeed in raising the ball on the surface of water with their skill in archery but Kalakacarya showed his mastery in archery by raising up the ball from the bottom of the well by shooting arrows. This is shown in the miniature painting on the left end of the folio which is divided into three compartments, the two lower orders showing youngsters playing the game while the top panel shows a well with a Persian wheel and Kalaka and a muslim. soldier trying their skill on the two sides of the well. The typical Persian wheel represented in the printing is of rare occurrence in Indian art. Especially noteworthy is the treatment of the trees in a stylised way and also in some cases the tradition of the Mughal period. Beginning of what is known as Rajasthani painting are certainly to be placed in a period not later than the age of this manuscript. Size: 7x 11 cm. approx. (Fig. 12) Folio 78 B: Obstacles in the path of Jaina monks and nuns. Border decorations of this folio are interesting as illustrating contemporary men and women. According to the text on this folio, the illustrations would at best refer to the fourfold Jaina Samgha and the various disciples or followers of Mahavira, but instead as stated in a short inscription on top of the left hand border the decorations. as well as the miniature on Folio 78 B, depict the various obstacles in the path of the Jaina monk or nun. This is an interesting miniature not common to Kalpa-sutra illustrations. In the upper panel a lady is resting on a mattress with a cobra behind her, and being shampooed by a disciple nun. The lower panel shows a teacher attended upon by a disciple monk. The scenes refer to some Jaina story. The border. decorations of course refer to certain obstacles in the path of Jaina. monks. But the representations are lively. Size: 7x 11 cm. (Fig. 13). Border decorations of the Kalpa-sutra. One of the folios shows beautiful border decorations of stylised and other trees and monkeys jumping on rocks and trees, parrots by the sides of trees. Mughal influence on the treatment of rocks and trees is noteworthy. Size: 27 x 11 cm.

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NEW DOCUMENTS OF JAINA PAINTINGS : 389 Folio 107 B : Border dercorations of the Kalpa-sutra. The illustrations of the borders include women riding on elephants, a beautiful tree and female dancers in various postures, all depicted on blue and red background. The text of the folio is written in gold on monochrome red background while the miniature on the left side is a beautiful painting of richly decorated elephant on which are seated queen Marudeva with attendants, while approaching the Jina Rsabhanatha (not shown) for worship. The richly decorated costume of the riders includes a ham sadukula lower garment. Figures of riders in the miniature are painted white upon red background. Size : 7x 11 cm. approx. GROUP III Meghaduta dated V. S. 1726 (= 1669 A. D.), painted at Asani-Kotta, from the collections of the L. D. Institute of Indology, Ahmedabad No (4083) Size of the manuscript : 25.2 x 11 cm. Total Folios : 8 Colophon: eft 11 TETRA Tanagrada HruZAGATI Fazifauti ft aasnniikottttmdhye| zrImat kharataragacche bhaTTAraka shriimcchiijincNdrsuurivijyraajye| vAcanAcAryavarya-zrI hIrarAjagaNipadapaMkajasevAcaMcarIka sazrIka paM0 udayaharSasAdhubhilikhitaM // cha || ziSya ciraMmati vimalamuni 95711211 The colophon says that in the year 1726 of the Vikrama (= 1669 A. D.), the manuscript was copied by one Pandit Udayaharsa sadhu of Kharataragaccha, pupil of Sri Hirarajagani, when Sri Jinachandrasuri was the head of the gaccha. The manuscript was copied at Sri Asani-kotta36. It is Asani near Jaunpur in U. P. mentioned in the Imperial Gazetteer. Since we know that one of the best illustrated manuscripts of Kalpa-sutra dated 1465 A. D. in Hamsavijaya collection was painted at Jaunpur, it is likely that Asani near Jaunpur maintained an art tradition. Since there is a ruined fort at Asani, this identification seems to be more probable. It is significant to note that dated and placed documents from the Uttara Pradesh are now available which support the view that Uttara Pradesh even before the advent of the Mughals was a centre of painting. The present document is an important addition to our knowledge of the 36 Asani-kotta may be Asani, about ten miles north of Fatehpur city in U. P. An inscription of the Gurjara-Pratihara Mahipala, dated in V. S. 974 was discovered here (The Dynastic History of Northern India, by H. C. Ray, Calcutta, 1931, p. 543, footnote 4).

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390 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME indigenous school of painting in Uttara Pradesh during the Mughal period.37 Folio 1 B : Sarasvati The four-handed Sarasvati, the goddess of learning, is riding on her goose vehicle. In three of her hands, she holds the book, the vina and the lotus. On the arch in the background are seen seated a peacock and an elephant on either side. Pink sky, red background covered with flowering shrubs. Size : 6.7 x 10.4 cm. Folio 4 B: Yaksa on Ramagiri The scene is laid in a rocky landscape with wild animals in the caves. On the right, the banished Yaksa wearing a redstripped turban, a stripped muslin jama and red trousers is seated under a tree with peacocks offering flowers to the cloud messenger. Chocolate background; blue sky with the rains depicted in white lines. Size : 10.6 x 8.3 cm. (Fig. 14) Folio 5 A : The City of Alaka The illustration is divided into two panels. In the upper panel a walled city is represented with men and women looking from the balconies; two warriors are seated on the ground floor. Outside there are three trees and a peacock. Red and blue background; the blue background of the city indicates its situation high up in the Himalayas. In the lower panel, a soldier is riding a green horse. On the right an elephant rider is urging the elephant on. Size : 10.6 x 8.4 cm. Folio 6 B: Yaksini playing on Vina. Refers to the verse of the Meghaduta beginning with great at His a r Arasy ............ (Meghaduta II, 25). 37 Rai Krishnadas, An illustrated Avadhi Manuscript of Laur Chanda in the Bharat Kala Bhavan, Banaras, Lalit-Kala, Nos. 1-2, pp. 66 ff. and plates. Moti Chandra and Khandalavala, An Illustrated Manuscript of the Aranyakaparvan in the collection of the Asiatic Society of the Asiatic Society of Bombay, Journal of the Asiatic Society of Bombay (1964), pp. 116-121 and plates. Khandalavala, Pramod Chandra, Motichandra, and P. L. Gupta, A New Document of Indian Painting, Lalit-Kala, No. 10, pp. 45-54 and plates. Khandalavala and Motichandra, An Illustrated Kalpa-sutra painted at Jaunpur in A.D. 1465, Lalit-Kala, No. 12, pp. 9-15 and plates.

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NEW DOCUMENTS OF JAINA PAINTINGS : 391 The illustration is divided into three parts representing a garden place. In the top panel is represented a leafy tree in the centre with a pavilion on either side and a peacock on the tree. Red and brown background. In the central panel is depicted the Yaksini wearing odhani, coli, and sari, playing music on the vina. On the left is depicted a sarika perched on the balcony. In the lower panel is depicted a garden with running water channels and plaintain trees. It may be noted that the painter of the manuscript has been able to realise the great lyrical beauty of a verse in Meghaduta and translate its appeal with the greatest economy of form and colours. Size 10.4 x 8.4 cm. Folio 8 A: The Meeting of Lovers. After the great tribulations suffered by the Yaksa and wife, they meet when the period of the curse is over. The scene is laid in a garden pavilion. On the left is seated the Yaksa reclining against some pillows. He is holding a wine cup and a pan. Facing him stands his wife, well-dressed and wearing pearl ornaments decorated with pompons, holding a fan and a wine jar. On the right there is a leafy tree with a peacock. A monkey climbing the tree is apparently enjoying the sight of the meeting of the lovers. Red and yellow background. Size : 10.6 x 12cm. Kumarasambhava manuscript, dated Samvat 1701 = 1644 A. D., from the Collections of L. D. Institute of Indology (No. 2260 Su. 4559). Only six paintings of this incomplete manuscript are available. Size : 25 x 11 cm. Total folios : 8 Colophon on Folio 57 A is in different hand-writing. After the words samAptoyaM graMthaH lekhakapAThakayoH zubhaM bhavatu || some blank space is left and then in a different and bolder handwriting is inserted : saMvaccaMdrAkAsamunibhUvarSe zrInautanapure phAguNi vadi 11 dine vA0 zrIyazAkusalagaNiziSyamuSya paM0 zrI lAbhakIrtigaNi ziSya paM0 harSasomena fordi II In the Samvat year 1701 (= 1644 A.D.) on the eleventh day of the dark half of Phalguna was written (i.e. copying completed) by Pandit Harsasoma, the pupil of Sri Labhakirtigani who is the chief disciple of Va. Yasahkusalagani. Folio 10 B : Brahma holding Court. The painting is divided into two panels. In the upper panel Brahma is seated on a Cauki attended by two gods. Blue background; in the foreground appear four gods standing against green background.

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392 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME The miniature is in popular Mughal style which though based on Mughal style lacks its courtly refinement. Such pictures were apparently in great demand in the cities of Agra, Delhi, and other places.38 Size : 10.2 x 10 cm. Folio 24 A : The Lamentation of Rati. The picture is based on the verse of Kumarasambhava beginning with 374 at gaia fem...... (Kumarasambhava, IV, 4). The scene is laid in a forest with rivulet in the foreground. The background is purple and covered with flowering shrubs and some trees. On the extreme right, Rati wearing a transparent carmine odhani, blue coli, yellow skirt and ornaments is seated under a tree in a very sorrowful mood. On the right stands an attendant trying to console her. In between them is represented a flaming fire apparently symbolizing the fire of Siva's anger which had reduced her husband Kama to ashes. Blue and white sky.39 Size : 10.2 x 10 cm. approx. (Fig. 15) Folio 29 A : Parvati proceeding to the Himalayas for practising penance. The scene is laid in a rocky landscape covered with trees, birds and animals, the green background is covered with flowering shrubs, while the sky is blue, white and carmine. On the left, stands confidante of Parvati on a mountain top. In the centre stands Parvati dressed as a female ascetic feeding grass to her pet deer. Note the treatment of trees and the rocks which have been borrowed from the Mughal painting. Size : 10 x 10.4 cm. Folio 39 A : Parvati's Message to Siva. The scene is based upon the beginning verse of canto VI of Kumarasambhava. The scene islaid in the sylvan quiet of the Himalayas. Against the saffron background are painted flowering trees, shrubs and creepers, and the blue and white sky. On the right, resting against a tree is Parvati holding its branch with her right hand. The confidante stands facing her with her right hand resting on a flower and the left one playing with a creeper. 38 Miniature Paintings from Sri Motichandra Khajanchi collection, p. 15. 39 Khandalavala & Motichandra, Collection of Sir Cowasji Jehangir Miniatures and Sculptures (Bombay, 1965), plate D.

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NEW DOCUMENTS OF JAINA PAINTINGS: 393 Note that the figures of Parvat! and her confidante are not wooden, but full of movements and their facial expressions convey their emotions. Size: 10 x 10.4 cm. Folio 56 B: The Marriage of Siva and Parvati. The marriage pavilion is represented by a pile of pitchers and a plantain tree on either side. Siva wearing the tigerskin and snakeornaments is seated on the right holding with the left hand Parvati's bridal cadar and with the right, one of her hands. She wears a simple bridal costume consisting of a tiera, red cadar and yellow skirt. Red background with Vandanavara. Size: 10 x 10.2 cm.approx. GROUP IV Miniature Paintings of the Samgrahani-sutra. Kierfel, in his Cosmographie der Inder, has given an account of cosmographical belief, according to Jaina traditions. His information is based on Jaina canonical texts and especially on the Brhat-Samgrahanisutra (also called Trailokya-dipika) of Sri Jinabhadragani Ksamasramana written in the sixth century and the Samgrahani-sutra composed by Sricandra Suri41 in 1136 A. D. Devabhadra Suri, who wrote a commentary on Ksetrasamasa12-another cosmological text-in 1176 A.D. also wrote a commentry on Sricandra's Samgrahani. Several texts, entitled Samgrahani-sutra, composed by different writers, are available in the Jaina Bhandars, but the works of Jinabhadragani and sricandra Suri are the most popular.43 He has also composed the Laghu 40 Kierfel, Cosmographie Der Inder, (Leipzig, 1920), and plates. There are several published editions of the Brhat-Samgrahani-sutra of Jinabhadragani Ksamasramana : (1) Published by Sri Bhimsi Manek, Bombay, containing 312 gathas. (2) Published with the comm. of Malayagirisuri, by Sri Atmananda Sabha, Bhavnagar, and contaning 353 gathas. (3) In the Laghu-Prakarana-Samgraha, this work is published and contains 349 gathas. 42 For Sricandra Suri, See M. D. Desai, Jaina Sahityano Itihasa, pp. 253-54. A Ksetrasamasavrtti is also composed by Haribhadrasuri in V. S. 1285. 43 The Brhat-Samgrahani of Sricandra, with commentary of Devabhadra, is published in Sheth Devachand Lalbhai Series, and has 273 gathas.

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394 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Samgrahani. Some illustrated manuscripts of this work are described in the following pages. Kierfel published a few illustrations of cosmographical charts (of the Jainas), most of which are available in illustrated manuscripts of the Samgrahani sutras. A large number of illustrated manuscripts of the Samgrahani are available in the Jaina Bhandaras and private collections but have not received the attention they deserve from art historians. Because of the nature of the text, most of the paintings illustrate cosmographical charts of the Universe, the different continents and oceans, which hardly have any aesthetic appeal as works of art. But every illustrated manuscript of the Samgrahani contains, besides charts, some illustrations of different classes of gods, their distinguishing symbols, the illustration of the Jaina theory of Lesyas (thoughtcolours) 44, the fourteen ratnas (jewels) of a Cakravartin, scenes of heavens and hells etc. These miniatures have some value from the point of view of art. Often such manuscripts are dated and are, therefore, more valuable to an art historian as is obvious from the Samgrahani painted at Matar in 1583 A.D. discussed below. i S. M. Nawab first published a few miniatures of the Sargrahana in his Jaina Citrakalpadruma, Vol. I, figs. 269-271 and 273-278. The manuscript was reported to be in the collections of Muni Sri Caturvijaya and Muni sri Amaravijaya. With these may be compared the illustrated Samgrahani dated 1637 A.D. in the Prince of Wales Museum done in the Popular Mughal style. Anand Krishna has discussed a complete undated yet profusely illustrated Samgrahani Sutra manuscript in the collections of Muni Sri Punyavijayaji of Ahmedabad and assigned it to c. 1550 A.D., and considered it as hailing from Gujarat45. He has illustrated three paintings from this manuscript, which, as shown by him, have to be assigned to Gujarat on the evidence of style. Khandalavala published a page from a Samgrahani Sutra, dated 44 Upadhye A.N., Doctrine of Lesyas, paper read before the Prakrit and Jainism in Section, Seventh All India Oriental Conference, Baroda (1934). 45 Anand Krishna, Pre-Akabari examples of Rajasthani illustrations, Marg, Vol. XI (March, 1958), No. 2, pp. 18 ff., figs. 6, 7, 8.

Page #894
NEW DOCUMENTS OF JAINA PAINTINGS: 395 A. D. 1601, from Mahavira Jaina Library, Delhi, and pointed to the use of cakadara and gheradara jamas. The farther eye is still protruding, though not as much as in the earlier Western Indian Miniatures, while the nose is pointed and the face angular. The Pramod Chandra" published a folio from the Matar Samgrahani Sutra dated A. D. 1583, showing cakadara (four-pointed) jama. He also referred to the Uttaradhyayana-sutra dated 1591 A. D. (now in Baroda Museum) and pointed out Mughal influence in the Western Indian style of Gujarat, indicating the nature of the transformation. protruding eye disappears, the draftsmanship becomes considerably smoother though some angularity is still noticeable, while the treatment of architecture is more varied and men wear contemporary costumes of the Akbar period including the typical atpati pagadi. This Samgrahanisutra from the collections of Muni Sri Punyavijayaji, was painted at Matar (near Kaira-Kheda), (Central Gujarat) by one painter called. Govinda. We reproduce here some more paintings from this Matar Samgrahani painted by Govinda to give a much better idea of the style, and of its richness. This work is called Laghu-samgrahani composed by Sri-Candrasuri. We are cataloguing here only the important pictures, leaving aside the charts, diagrams, decorative designs, etc. Laghu-Samgrahani painted at Matar in V. S. 1640 (= 1583 A. D.), from the collections of Muni Sri Punyavijayaji, (No. 2686). Size 26.3 x 11 cm. Total folios 39 Date of Ms. and colophon saMvat 1640 varSe AsAda sudi 15 titho ravivAsare zrI mAtarapuragrAme likhitaM // zrI // zrI aMcalagacche zrI zrI zrI pUjya bhaTTAraka zrI zrI zrI zrI zrI zrI zrI szagfugicasquet | Written in Sri Matarapura-grama on Sunday, on the fifteenth day of the bright half of the month Asadha in the Samvat year 1640 (1583 A.D.), during the lordship of Bhattaraka Sri Dharmamurtisuri in the Ancalagaccha. The manuscript seems to have been copied by Sri Gunanidhanasuri at the behest of Sri Dharmamurtisuri, according to an entry on folio 20 A. On folio 33b (Fig. 18) we find, written in golden letters, faru , i.e. Painter Govinda. 46 Khandalavala, Karl, Marg, XI, No. 2, pp. 4ff, fig. 3. 47 Pramod Chandra, Marg, Vol. XI, No. 2, pp. 33.

Page #895
396 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Folio 4 B : Gods of Bhavanapati Class. Full length size panel divided into several compartments depicting the Asura, the Naga, the Vidyut, the Suvarna, the Agni, the Dipa, the Udadhi, the Pavana and the Stanita-Kumara devas of the Bhavanapati classes of gods. They are all dressed in cakadara jamas, red, green, yellow and white, patkas, and mukutas. Red and blue backgrounds. Size : 26 x 4.5 cm. Folio 5 A : Ornaments and other Symbols. The panel divided into ten compartments represents the following crest-symbols of different group of gods : (1) Cudamani (crest jewel), (2) snake, (3) garuda, (4) vajra, (5) kalasa, (6) simha (lion), (7) asva (horse), (8) gaja (elephant), (9) makara (represented as fish) (10) vardhamana. The Vardhamanaka which should have been represented by bowl of present, is misunderstood by a human figure lifting a child to his shoulder. Red background. Size : 21.5 x 4 cm. Folio 6 A: Symbols of the different classes of Vyatntara trees. Beginning from left are: (1) Kadamba, (2) Sulasa, (3) Vata, (4) Khatvanga, (5) Asoka, (6) Campaka, (7) Naga and (8) Udumbara. The trees have either blue or red background and are sometimes associated with birds. There is a beautiful representation of a peacock by the side of the Udumbara tree. Size : 21 x 3 cm. approx. Folio 6 A: Different grades of demons etc. In the lower panel are represented : (1) Pisaca, (2) Bhuta, (3) Yaksa, (4) Raksasa, (5) Kinnara, (6) Kimpurusa, (7) Mahoraga and (8) Gandharva. They are either black, blue, green and white. They are the different groups of gods of the Vyantara classes. Folio 7 B : Dancers and Musicians. In the upper panel, a dancing scene is represented. Two musicians are playing the rabab and the cymbals and a third is drumming. In between them, two dancing girls are performing. The flesh colour of all the dancers and musicians is yellow. The musicians wear the typical costume of the Akbar period, i e., the four-pointed cakadar jama, trousers, dupatta and turban. The dancers are dressed in tight trousers, patka, odhani, and coli. One of the female dancers also

Page #896
NEW DOCUMENTS OF JAINA PAINTINGS : 397 wears pompons. In the right side appears an elephant rider called gajendra in the label. In the lower panel appear a chariot ridden by a four-handed god, a four-handed horse rider, a warrior, a bull and a buffalo. Red background. Both the panels represent the various anikas (paraphernalia of the army) that the Indras of Vyantara class have. They include: Gandharvas (musicians), natas and nartakas (actors and dancers), and horse-riders. The gods in the lower region ride buffaloes and gods of the upper regions ride bulls. Size : 21 x 4 cm. approx. (Colour plate III, Fig. V). Folio 14 A: Symbols of various gods in heaven. The symbols beginning form the right are: (1) a Deer, (2) a Buffalo, (3) a Sukara (pig), (4) a mythical lion, (5) a Goat, (6) a mouse represented here like a monkey, (7) a horse, (8) an elephant, (9) a snake, (10) a rhinoceros (khadgi), (11) a bull, (12) and an antelope. Size : 21 x 7 cm. Folio 14 B: Representation of the Vimanas of Gods in different atmospheric regions. The three Vimanas beginning from the right end, are of the (1) ghanodadhi region, (2) the ghanavata region and the tanuvata region. The three arched Vimanas (heavenly cars), decorated with flags etc., contain figures of four-handed gods accompanied by their fourhanded spouses. Size : 21 xcn, approx. Folio 19 B and 20 A : (The panels of folio 19 B are continuous with panels of folio 20 A.) Heavens to which certain class of people attain after death. According to the Samgrahani Sutra, people dying with anger and enmity towards others are born amongst the Asuras. Those who (1) hang themselves, (2) take poison, (3) drown themselves in the waters, (4) enter fire, (5) die of thirst and hunger, and (5) throw themselves from a mountain (Bhrgupatana) with a good intention, are reborn amongst the Vyantara-devalokas. It may be noted that the Saivites in ancient India commonly resorted to these practices for attaining salvation. But according to the Jainas, they were reborn as only second-rate godheads. The above practices are represented in different compartments of the upper panel of the folio 19 B and in the left side compartment of the lower panel. In the first compartment is shown a man throwing

Page #897
398 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME himself down from a rock and reborn as a four-armed god of the Vyantara class shown standing on one side. The text further states that the hermits living on the roots and fruits are born amongst the jyotiskas (astral bodies). This is represented in the second compartment, lower panel, folio 19 B, where a hermit is shown, with the sun, the moon and the stars next to him. The Caraka-parivrajakas, an ancient class of Hindu monks, are said to attain the Brahmaloka heaven of Jaina cosmography. In the third compartment of above is shown a Caraka-parivrajaka, carrying a staff and a water-pot. In the upper panel of folio 20 A, we find in the first compartment on the right, a four-armed god, symbolizing the gods of Brahmaloka. The text further says that animals dying with good intention, attain the Sahasrara heaven. In the second compartment (folio 20 A upper panel), we find a bull, a horse and an elephant symbolising the animal world. The four-handed Sahasrara-god is seen in the next compartment. In the last compartment of the panel, we find a Jina being worshipped by a lady, followed by three Jaina laymen. These laymen are supposed to attain the Acyuta-deva-loka which is symbolised by four-armed god in the lower panel, on the right side. Those Jaina monks who don the monk's dress, yet do not perfectly follow the tenets or laws, attain the ninth Graiveyaka heaven of the Jaina cosmography. It is represented in the next compartment where a Jaina monk and a four-armed god are represented. In the following compartment is represented a Ganadhara and next to him is another four-armed god. Such monks, who are adept in the Jaina Canonical texts, e.g., the Purvadharas, Pratyeka-Buddhas, Ganadharas and so on, attain the Sarvarthasiddhi-Vimana, the highest heaven of the Jainas. The four-armed god beside the Ganadhara represents the god of this heaven. In the last compartment the remaining space has been utilised by representing a crescent-shaped Siddha-sila to which the perfect souls, breaking all worldly bondages, retire. In the painting, the Tirthankaras of various complexions are shown sitting in Padmasana. The space above and below the crescent-shaped Siddha-sila, is carmine ground on which the following inscription in gold appeears : sft faff#: ferear sft sillas nft yaraf meaning that (this manuscript) was made to be written by Sri Dharmamurtisuri (and was copied by) Sri Gananidhanasuri of Sri Ancalagaccha.

Page #898
NEW DOCUMENTS OF JAINA PAINTINGS : 399 Both the folios 19 B and 20 A have red background. Note the treatment of the hill (folio 19 B, lower panel) with flamboyant rocky formation indicated by white, black, green, carmine and ultramarine blue. Folio 21 A : Sexual life enjoyed by different gods. In a panel divided into three compartments are shown the gods in different heavens satisfying their sex urge in different ways. In the first compartment, labelled as Sudharma-loka, a god with only a turban on, is making love to his companion. Yellow background, with arabesque; light pink body of the lady, red cot furnished with a pillow. In the second compartment, the god and goddess of isana-deva-loka, are interlocked in a partial embrace, on a cot overlaid with a blue counterpane. Green background studded with stars and two lotus buds hanging from the red canopy above. In the third compartment are represented a god and goddess facing one another, the god touching the shoulder of the goddess. This is the way of obtaining sexual satisfaction amongst the Sanatkumara and Mahendra classes of gods. Note the pompons worn by this goddess in the third compartment. Size : 23 x 7.5 cm. Folio 21 B : Dancing and Music in Indra's court. The upper panel is labelled Indra-natika. In this panel, against the red background, dancing and music is being performed in front of the four-armed seated Indra shaded by a triple umbrella and attended by a god standing behind. Facing Indra are female dancers, a cymbal player, drummers and rabab-players. The dancers and musicians are all of light yellow carnation and their movements are well expressed. The lower panel, is labelled on the right side as Uparla Devaloka (Upper heavens). Possibly this refers to the Anuttaraupapatika heavens. Red background. In right hand compartment are seated a man, and a woman face to face. Size : 25.5 x 8.7 cm. (Fig. 16) Folio 23 A : Six Lesyas, or Thought-Colours. A big tree is being attacked by six men, three at the root and three up the tree. Below the tree, in a panel, are shown standing, the same men, in black, green, blue, yellow, red and white representing their lesyas. While the black man is lowest in the development of n and spiritual faculties, the white man stands the highest. The black

Page #899
400 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME man is unwittingly cutting at the root of the Tree of Life which is an unwise act while the white man uses only its fruit and flowers which have fallen and thus does not in any way harm the Tree. The rest of the men are in different stages of evolution. Yellow background; red foreground; ultramarine and a carmine sky. Size: 24.2 x 10 cm. (Colour plate IV) Folio 24 A: Some common features of Gods. The gods are supposed to be ever young, unwinking and possessing fragrant and clean bodies, adorned with ornaments. The picture represents a young god, lying on a canopied cot and attended by two female cauri-bearers on either side, wearing fine odhani, coli and skirt (ghaghara). Blue and red background. Size: 13.8 x 8.3 cm. Folio 25 A Lokapurusa The Lokapurusa representing the shape of the cosmos, with various hells, the earth, the luminous bodies and heavens is conceived in this form. Red and blue background. Strangely enough the figure represented here is that of a woman. Size 25.7 x 10.3 cm. Folio 26 B: The Hell Tortures. The panel divided into four sub-compartments depicts the tortures of hell. The representations of the hells found in several manuscripts of the Samgrahani are published here for the first time. In the first compartment the hell guards are tearing out the eyes. of two sinners; a man with four hands. In the second compartment, two men with their hands tied stand under a tree. In the third compartment hell tortures are being inflicted upon two sinners. In the fourth one, two denizens of hell are fighting and pulling each other's hair. Folio 27 A: Continuation of Hell Scenes. In the upper three compartments are continued the hell scenes from the folio 26 B. The background is red and blue. The first compartment in this panel shows two pairs of men and women, fighting, kicking and pulling one another's hair, their bodies. are smeared with blood. In the second compartment is shown a naked male thrown over a spiked bed. In the third compartment is shown a naked woman impaled on a pointed spike. Size: 15.9 x 4.7 cm.

Page #900
Fig. 1. Birth of Mahavira, Folio 28 B, Kalpa-eutra and Kalaka-katha, dated 1346 A.D., Collection of Muni Sri Punyavijayaji atramA darzamadhye bharatazAnaM Fig. 11. Bharata looking into a mirror and obtaining the Highest Kuowledge. Folio 163 A, Satrujaya Mahatmya, e. 1420 A For Pivate & Personal Use Only. Institute of Indology. Ahmedabad

Page #901
HAMININO BERBERI IRATKO mnen. A TENTIERTELTIER TELUT S ALCEA LLLLLLLLLLSLAMU TELE GRAL Fig. Il. Vajra in his cradle. Folio 107 A. Kalpa-sutra, dated 1490 A.D., Collection of LD, Institute of Indology, Ahmedabad SILENT Fig. IV. Marriage of Candraprabha. Folio 126B, Candraprabha-Caritra, dated 1498 A.D., Collection of L. D. Institute of Indology. Ahmedabad Wwwww

Page #902
tudi v Blg. V. Dancers and Musicians. Folio 7 B. Laghu-Samgrahani, dated 1583 A.D., Collection of Muni Sri Punyavijayaji

Page #903
Fig. VI. Six Lesyas, Folio 23 A, Lagha-Samgrahani, dated 1583 A. D. Jain Education international Forovate & Personal Use Only wwweinelibrary arg NEL 10

Page #904
Fig. VIII. Incidents from the story of the monk Metarya. Folio 52 B, Upadesamala, Late 17th or early 18th century A.D., Devasano Pado Bhandara Fig. VII. Some episodes from the story of Jayaghosa. Folio 40 A, Uttaradhyayana-sutra, c. 1600 A.D., Collection of Muni Sri Punyavijayaji www.jaintelibrary.org

Page #905
For Private & Personal use Fig. IX. Story of Purna Sresthi who turned into a Hindu monk. Folio 69 B, Upadesamala, Late 17th or early 18th century A. D. Fig. X. Installation ceremony of Bharata Cakravartin. Folio 198 A, Jambudvipa-prajnapti-prameya-ratnemanjusa-tika, c. 1606 A.D., Collection of Muni Sri Punyavijyaji wwwjalnelibrary.org

Page #906
Fig. 1. Birth of Mahavira. Folio 36 B, Kalpa-sutra and Kalaka-katha, 1346 A. D. Fig. 2. Fourteen dreams of Devananda. Folio 3 A, Kalpa-sutra and Kalaka-katha, 1346 A. D., Collection of Muni sri Punyavijayaji

Page #907
MS INCHES fadiyAya mazinimmala yariNANaNyAnamaMtammakAra emAzyAghAjhA muziMdAsamatA DAyAsanaNaznapAhAmAdammake lAkANijAtiyayadyAnayarimA nANasANavikSiNAdivegAnAbA ryakachAnakesamAzamitiyAgaM36 miAnasa gAmAladA zanizrIkAma mAmaMgalamA samata adanAma guNAda viyakA vidA likA vizva 24. Fig. 3. Kalakacarya with four-handed Indra. Folio 132 A, Kalpa-sutra and Kalaka-katha, 1346 A.D.

Page #908
MABUTI M ASERATITISERSTRITIGARREN Jain Education Inter nimla Fig. 4. Kalaka and Gardda bhila. Folio 43, Kalaka-katha, c. 1430 A.D., Collection of Muni sri Punyavijayaji Fig. 5. Defeat and captivity of Garddabhila. Fono le lalalalatla1420 An

Page #909
w Okina Ill ob nAtAlelA mRdegAdInyAtAdyAni gurusaro vAdayetisAsA TApAsatyAvaka slaanraaH||38 cAkacadA dAharu yasa sarasamanvitAsanmUrchanA yA malaya mAtrA vAdyagIta mRta me || sAtAlAna mAvivAda sAmanA khAkasikA hAvalAva vilAsATha nRtyacakAparApAlAH // 1450 sa evaMvidhasA madhyAnirgatyanagarAta jJAnina paaysdsaayvnaanidhii|41 zi mattIryavidyAbharaNAnyadhApaMca kazAna uccaravAna jinazvaraH // dyAnapravA bikAyAsa nirmuSTisi dhazva khAdAla gRhIcAtAnIrAmadhvA kietAmRdaMganA dasaMyuktaM mulaM nyvaaryt| zadyaSTA sitaca uddezyAMnA kasarIgAtArucA siina makAre prazcAzvimAda tiSTatayaH sAI sahamaNamahI / yAttasA Fig. 6. Varsikidana and Diksa of Santinatha. Folio 111 A, Santinatha Caritra, 1396 A. D. (?), Collection of L, D. Institute of Indology, Ahmedabad '''')

Page #910
Fig. 7. (Upper panel) Bhima holding court. (Lower panel) Bhima consulting his queen. Folio 2 B, Damayanti-kathacampu, 1400-1425 A D., Collection of L. D. Institute of Indology, Ahmedabad.

Page #911
ATOLO Ta Fig. 8. Evils resulting from idleness and procrastination. Folio 7 A, Uttaradhyayana Sutra, 1492 A. D., Collection of Muni sri Punyavijayaji Fig. 9. Kesi and Gautama conversing. Folio 46 B, Uttaradhyayana-sutra, 1492 A. D.

Page #912
cAmAmAvilAsAsahA ekadalIyalaNasaralatola bhayenajANAmabalopavaNaNedunAra riumaravAde nAjIvADa aneropavATI pravidhi dAza Fig. 10. Kamakandala suffering the pangs of separation. Folio 13 A, Madhavanala-kamakandala-katha, 1493 A. D., Collection of Muni sri Punyavijayaji Fig.11. Vikramaditya fighting with the army of Kamasena. Folio 24 B, Madhavanala kamakandala-katha, 1493 A. D.

Page #913
zayANA nAjadhanalatApAtAyA yamavaDAruaraMDakA larUpavayavAvAgAyana chAtapADAlarAti vamovicAzramAsA sUrIzvaravAjAmAtApAta nyA ki matimA AmA viya Fig. 12. Game of Gendi-dada. Folio 4 A, Kalpa-sutra and Kalaka-katha, dated 1501 A. D. Collection of Anchalagaccha, Jamnagar sarakAjatA sAdhayAmA nAkAsimAdhivAsaMgara samAsaNanAvamadA saMkhsaTANAmurakANAsa sgaasttaasaadrmaa| hiNdshrmaanaavaasiyaa|| dattA 13rA vArA dANAvA nAnA samA LSiwanN.MAAYIWWW Fig. 13. Obstaces in the path of Jaina monks and nuns. Folio 78 B, Kalpa-sutra and Kalaka-katha, dated 1501 A. D.

Page #914
Fig. 14. Yaksa on Ramagiri. Folio 4 B, Meghadita, dated 1669 A. D., Collection of L. D. Institute of Indology, Ahmedabad mizila darzanalocanakaraNakaMTAspaka sItA zAparijJAnadikSA pannAnunayoritividhAyi syamikacidityaniyojita rutiryastatpuruSAsati kedra 3 naviveda tayoravRtayoH jIvitanAghajIvasI hopuruSAnRtidi vala = aghasAhana 'stanI vilalAdikI lau 4 upamAnemandA citirvidanenAstAno vipti ke zA sAratiH svalI kRtimAsamakhAsa dattavilA paridevanaityamaraH mAdhakatama gi Fig. 15. The lamentation of Rati. Folio 24 A, Kumarasambhava, dated 1644 A. D., Collection of L. D. Institute of Indology, Ahmedabad

Page #915
imAraka basI ruvamAdi vanArAmANapazmiA apavidyArAnAtasadAbhAUMcakAmasudAlAe UMcadivaMmA n Fig. 16. Dancing and music in Indra's Court. Folio 21 B, Laghu-Sangrahani, dated 1583 A.D., Collection of Muni sri Punyavijayaji Fig.17. The Jewels of Vasudeva. Folio 32 B (lower panel), Laghu-Samgrahani, dated 1583 A. D.

Page #916
malA bInArAmAnaMda gatidasa sa bAramavAsaNANadizA bamAsa yavihIjaDAmA samAyakhahavAlayama lAsakagayadharavarakhaDavA gavAracavada vyArabAvAsasamasadasA gayA Fig. 18. Representation of the Siddhasila, Folio 33 B. Laghu-Samgrahani, dated 1583 A. D. NEEPIA madhyAmajanA gavanasyatA AIR tAtAprasadhyA apabAdava nakAyabA rAzAba taM manA Fig. 19. Some symbols. Folio 35 A, Lughu-Sargrahani, dated 1583 A. D.

Page #917
Fig. 20. Illustrations of Samsthanas. Folio 17 A, Samgrahani Sutra, dated 1587 A. D., Collection of Muni sri Punyavijayaji TE Fig. 21. Detail of Fig. 23. (Middle panel enlarged)

Page #918
RAM Fig. 22. Obstacles in the ways of monks. Folio 4 B, Uttaradhyo yana sutra, c. 1600 A. D. Collection of Muni sri Punyavijayaji Fig. 23. The parable of the bull. Folio 43 B. Uttaradhyayana Sutra, c. 1600 A. D. obrane

Page #919
balAdakAnAvAdadA dhIpADA DimavAda / tihADakAjasamAraMzA gAraNa vRdAnIparAva lAkAdhA vAdAmAta navIhAdarAyata dIrAganathakoutaroga ghanasAtavIbAUbali nathIcamA anaema dimAsAmAnavapanA tvamyA hArdipratimA dalUkamAIdhanA mAtra 3 ImaviMtavADIta yA Fig. 24. Incident from the story of Bahubali. Folio 10 A, Upadesamala, c late 17th or early 18th century A. D., Devasano Pado Bhandara, Ahmedabad. Fig. 25. Some incidents from the Story of Sahasramalla. Folio 82 B, Upadesamala, colate 17th earlys 18th century A.D.

Page #920
Jain Edu . * Fig. 26. The story of Aranikaputra. Folio 112 A (upper panel enlarged), Upadesamala, Late 17th or early 18th century A. D.

Page #921
Fig. 27. Detail from the Vijnaptipatra from Sirohi, dated 1737 A.D., National Museum, New Delhi. in Education International

Page #922
vaizya sevaka Fig.28. An illustration from Durga-Saptasati. Folio 5A, Durga-Saptasati, written in Surat, dated 1719 A.D., Prince of Wales Museum, Bombay

Page #923
Fig. 29. Krisna playing the Aute. Folio 28 A, Krisna-veli, c. 1650 A.D., Collection of Muni Sri Punyavijayaji Fig. 30. An incident from the life of Muni Ardrakumara. Folio 11B, Ardrakumararasa, Late 17th century A. D., Collection of Muni sri Punyavijayaji Jarducation International www.jalnelibrary.org

Page #924
paMdhAnaTe janapAva mAtmAnIya manI badAnamA akSamuSa lAhazatalIcI aa Fig. 31. The hell-tortures. Folio 41 B, Samgrahani-sitra, dated 1650 A. D., Collection of the L. D. Institute of Indology, Ahmedabad

Page #925
Fig. 32. Seven modes of Self-immolation. Folio 30 A, Samgrahani-sutra, c. 1675 A. D., Collection of Muni Sri. Punyavijayaji ain Education International M nATakiyA * nATikaka vis|| baDa 39 Fig. 33. Actors and pole-dancers. Folio 37 B, Candaraja-rasa, dated 1655 A. D., Collection of Muni sri Punyavijayaji

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sumanima imaraghara nuM maMgAra 38 SH Fig. 34. The battle between the minister Sumati and King Hemaratha. Folio 35 A, Candarajano rasa, dated 1659 A.D.. Collection of L. D. Institute of Indology, Ahmedabad Fig. 35. Haribala meeting Dhivara. Folio 4 A, Haribala Caupai, dated 1687 A.D., Devasano Pado Bhandara, Ahmedabad

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Fig. 36. An illustration from Naladamayanti Katha, c. 17th century A. D., Prince of Wales Museum, Bombay patrapalakAtArAkhanadilAUnamaLaragamanamuNbhAvanamatAlavAnagaDAvagaralAkamadhAna 23 yAtayAta mAramArkayo mAdhavanagaramoniyAviyana kAmakaMTalAmAthakA mAtApraNamAmAMgadadharI camaka milimAdhava kamaMDANanagamakAmagAgamayalalokAgadakoharSa mamatamimaMdiramakSiNamukhasamaTAlasamAnaliharamAItA hialnamilimaparivArakAmakalAmaMga samvamAnyAmamA Fig. 37. An illustration from Madhavanala Kamakan dala Katha, c. 17th century A.D., Collection of Muni sri Punyavijayaji an Education International

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laka DibodhIratanaka reDa villa navakArajaMpAUMDikala havakAnimanaJcaharakadevi rathame DivAla nakcaDelipa Fig. 38. Nala driving the chariot of Rtuparna. Nalodavadanti-Rasa, Late 17th century, Collection of Muni Sri Punyavijayaji rAmeznala sinArire mapasUtra ina sadara malagI tinhI kamara hara dina rA kahi mozyAvaijaznala azvaridadyavidyA naUjaNa pahaznala na hitA // 4 24 Fig. 39. An illustration from the Naladavadanti-Rasa. Late 17th century, Collection of Muni sri Punyavijayaji P

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awalan ann 18 27 Fig. 40. Virasena and his queens going out for a picnic. Folio 12 A, Candaruja-Rasa, Poona, dated 1812 A.D., Collection of Muni sri Punyavijayaji

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NEW DOCUMENTS OF JAINA PAINTINGS : 401 Folio 32 A : The Fourteen Ratnas (jewels) of a Cakravartin. The illustration is divided into two panels; in the upper one, beginning from the right end, Cakravartin is sitting on the throne shaded by a triple-umbrella overhead and attended by a servant standing behind. Arranged in front are the jewels (ratnas), in the following order : (1) the Commander-in-chief, (2) the housesholder, (3) the carpenter holding an axe, (4) the queen, and (5) the family priest. In the lower panel beginning from the right end appear further ratnas: (6) the discus, (7) the umbrella, (8) the staff, (9) the jewel, (10) the sword, (11) the shield of hide, (12) the kakini, (13) the horse, and (14) the elephant. Size : 25.6 x 10.4 cm. Folio 32 B: The Jewels of Vasudeva. As in folio 32 A, the ratnas (jewels) of Vasudeva, seven in all, are shown in the first panel. On the right end, in the upper panel, the four-armed Vasudeva is seated with an attendant standing behind. in front of him appear (1) the discus, (2) the bow, (3) the sword, (4) the Kaustubha mani, (5) an unidentified object (perhaps the mace), (6) the garland of flowers, and the (7) conch shell. In the sub-compartments of the lower-panel appear the sword and the shield, a man reclining attended by two women apparently intended to symbolize the Stri-ratna (queen) with two prancing horses held by a groom. Size : 25.6 x 10.4 cm. (Fig. 17) Folio 33 B: Representation of the Siddhasila. . On the white and crescent-shaped Siddhasila rest some Tirthankaras with white, red, golden, green and blue carnations. Red background. In the empty space between the sila and the figures of the Jinas, is written in golden letters; Citara Govinda i. e. Painter Govinda. Size : 6.7x 6.2 cm. (Fig. 18) Folio 34 B: Some Symbols. Representations in four equal rectangles of a lotus, a conch. A bunch (gulma) of flowers and a bee hovering on flowers. Red background. Size : 7.8 x 5.8 cm. Folio 35 A : Some Symbols, Representations in four panels of (1) a pair of fishes and bull, (2) a mythical lion, a tiger, an elephant, a snake, a godha, (3) a garuda, GJ.V. 26

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402 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME a white bird, a parrot-like red bird, and a crane, (4) a parrot and a peacock. Red background. Size: 9 x 10.3 cm. (Fig. 19) Samgrahani-Sutra manuscript dated V. S. 1641 (=1587 A. D.) written at Cambay, from the collections of Muni Sri Punyavijayaji. Only one painting from this manuscript is illustrated here to show the style. Cambay is not very far from Matar where Govinda painted the Samgrahani dated in 1583 A. D. The colophon of this manuscript reads saMvat 1644 varSe mAgarsara mAsi zukra pAlyo aSTamAM tabhI somavAsare laSitaM staMbhatIrthe || Written in Stambhatirtha (Cambay ) on Monday, on the eighth day of the bright fortnight of the month. Margasirsa in Samvat year 1644 (= 1587 A. D.) Size of the manuscript: 25.5 x 11 cm. Folio 17 A: Illustrations of Samsthanas. A panel showing six women in different compartments. A label below reads samAcAra saMsadhAna. Possibly they illustrate the different samsthanas (i. e., frames or built of bodies of human beings) according to Jaina theological beliefs. Red background. The women are sitting in compartments (rooms) decorated with patterned hangings. The angularity in draughtsmanship is still maintained. The dress, ornament etc. could be compared with the Matar Samgrahani of 1583 A. D. Size: 25.5 x 11 cm. (Fig. 20) Uttaradhyayana Sutra copied at Anjara-nagara (in Kaccha), from the Collections of Muni Sri Punyavijayaji (No. 1/84) Size of the manuscript: 25.5 x 11.5 cm. Total folios: 67. The style of paintings suggests a date c. 1600 A.D. or c. 15801600 A.D. Colophon : lipIkRtA zrI 108 haMsapramoda mahopAdhyAyAnAM ziSya mukhyavAcanAcArya zrI 6 cArudattagaNInAM ziSyeNa paNDita kanakanidhAnamuninA / zrImadaMjAranagarasthitena / svajJAnavRddhyarthaM / xxxx Copied by Pandit Kanakanidhana muni, the pupil of Sri Carudatta gani Vacanacarya, who is the chief disciple of Mahopadhyaya Sri Hamsapramoda. (This was done while) Staying in Sri Anjaranagara. Folio 2 A Discipline of Monks. The scene is divided into two sections, the upper one shows a stylised tree, on the right is a monk carrying another monk on his shoulders; either this represents a wise pupil serving his master, in which case the one who wails is the pupil or the scene represents a

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NEW DOCUMENTS OF JAINA PAINTINGS : 403 wayward or indulgent (pramatta) monk who prefers to be carried by another monk. The lower panel refers to a verse which says As a bitch with running ears is driven away from everywhere, so a disobedient, subversive, talkative disciple is driven away. A pig will leave a milk porridge to eat faeces : so a disobedient disciple will leave virtue to savor the false'. (Brown, op. cit., p. 6). Here, a woman seated on a stool, is shown driving away a pig and a bitch with a stick. Blue background, gold profusely used for all paintings of men and women, animals, plants, trees etc. The fine brush work is noteworthy. The farther eye appears sometimes, while the costume seems to exhibit typically local traditions of Kaccha. Size : 10.5 x 8.5 cm. Folio 4 B: Obstacles in the ways of monks. The painting refers to the chapter on the twenty-two parisahas or obstacles like hunger, thirst, cold, heat etc. In the upper panel a monk is entering a cave; next he is shown as begging; a bharanda bird with two faces is in front. In the next panel two dancers are performing a dance and another man wearing a turban (an attendant ?) is holding the hair of someone sitting on his knees. In the lowest compartment a nobleman is seen lying down on a cot. Ultramarine background decorated with four-leafed white flowers. The figures are all painted in gold. Note the pointed ends of the jama of the two male dancers in the central panel. Size : 10.5 x 8.3 cm. (Figs. 21, 22) Folio 20 A: Unidentified scenes. The painting is divided into three panels, the top shows a stylised tree with two men on top. A monk with two bowls is seated in front on a small mat; on the other end yet another monk. Gold in body colour etc. Ultramarine background with red used as background to the heads of the monks. The central panel shows a bearded monk, conversing with a woman. Size : 10.5 x 8.6 cm. Folio 40 A : Some Episodes from the story of Jayaghosa. * The story refers to Jayaghosa, a Brahmana who in the course of his travels arrived at Banaras. There another Brahmana, Vijayaghosa, who was holding a sacrifice would not allow him to attend it since

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404 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Vijayaghosa took him to be a mendicant. A dialogue ensued in which Vijayaghosa was defeated and finally became a Jaina monk. The illustration depicts certain episodes from the story.. On the top left, the Brahmana Jayaghosa is shown entering the city of Banaras by one of its gates. The inhabitants of Banaras are represented by two women and a man. In the foreground is represented the holy river Ganga in which a Brahmana is taking his bath; three vultures representing the proximity of a cremation ground are seen on the bank of the river. A Jaina monk appears in one of the compartments. Red and ultramarine background; the figures are painted in gold; the river is represented in basket pattern on gold ground. Size : 10.5 x 9.5 cm. (Colour plate V, Fig. VII) Folio 43 B: The Parable of the Bull. Just as a bull runs away or refuses to move, similarly the bad disciple of a monk, when yoked to the cart of law, are prone to break the law through lack of mental discipline. In the lower panel a cart-driver is driving a bull which refuses to move in the upper panel a Jaina monk is seated, two others are hurrying away from him. In the whole manuscript, the figures are painted in gold on which the body contour is drawn in ochre. Ultramarine and red background is covered with white and golden flowers. Size : 10.6 x 8.5 cm. (Fig. 23) GROUP V Upadesamala with Balavabodha from the collections of the Bhandara of Devasano Pado, Ahmedabad. Amongst the old Jaina diadectic (Prakarana) texts is included an ancient popular work called Upadesamala, containing 541 gathas, composed by Dharmadasagani whos date is unknown but whom several commentators have regarded as one of the pupils of Mahavira himself. . But the text, on account of the form of the Prakrit language used therein as also because of the fact that later monks like Arya Vajra (c. 50 B. C. or c. 50 A. D.) are mentioned, seems to have been composed between c. the 5th and the 6th centuries A. D. Whatever the age, it is quite certain that the text has been held in high esteem for a long time by the Svetam bara sect of Jainism. Several texts were composed after the model of the original and several commentaries (balavabodhas) etc. written on it prove beyond doubt the popularity of this text.

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NEW DOCUMENTS OF JAINA PAINTINGS : 405 Jayasimhasuri, for example, composed in c. 915 V.S. (= 858 A.D.) a small text called Dharmopadesamala (98 verses), but he also wrote, in 913 V. S. (= 856 A.D.) a commentary on the original Upadesamala of Dharmadasa Gani. The Upadesamala refers to about seventy stories, the Dharmopadesamala to about 158 didactic stories. Siddharsi wrote a short commentary called Heyopadeya and another a bigger one, on this text. But the more famous commentary is what on the text is Doghatti-tika composed by Ratnaprabhasuri, in A. D. 1181, at Chandravati near Abu. This is published in Sri Ananda-Hema-Jaina-Granthamala (Series no. 6) Bombay (1958) 48. There are a few Gujarati Balavabodhas (short annotations) existing on this work, but most of these are still in manuscript form. Some of these are noted by Mohanlal D. Desai.99 Vsddhivijaya, pupil of Satyavijaya of Tapagaccha, composed in V. S. 1723 (= 1666 A.D.) at Surat, one such Balavabodha in Gujarati.50 A very richly illustrated manuscript of 210 folios, containing Gujarati-stabaka (and Balavabodha) of Upadesamala is recently discovered by Muni sri Punyavijayaji from Devasano Padano Bhandara, Ahmedabad. Muni Sri Punyavijayaji kindly placed the whole manuscript at our disposal for study and reproduction, for which we are very grateful to the Muniji as well as to the enlightened secretaries of the above Bhandara. This manuscript has a very simple colophon (in red ink) at the end, on folio 210 A, which reads : sa eft 399 TTATOTIEI #uf 11 saMvat 1765 varSe Asu sudi 5 tithau guruvaasre| paM0 zrISImA vijayaga0 vAca. The sentence is left incomplete. It should have been 1971. Between the first and the second lines is written in smaller different handwriting o HR Intu. Then later in larger handwriting is written in an oblique way 48 For an extensive list of imitations of Upadesamala and of Sanskrit and Gujarati comm. of Upadesa., See intro. to this edition noted above. 49 Desai, M. D., Jaina Gurjara Kavio (in Gujarati) Vol. III, part 2 (Bombay, 1944). Two manuscripts of this work are in Sri Hamsavijaya collection, Baroda, one is at Gogha. Another manuscript of this work was copied at Ahmedabad in 1546 V. S. as noted by Desai. 50 Ibid., pp. 1627-28. 51 Ibid., p. 1640. GJ.Y. 27

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406 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (i. e. not in the usual parallel straight line) the following: (1) jInI XX jo. This is then crossed out with black ink. For the present we can only say that the illustrated manuscript should date not from V. S. 1765 (-1708 A.D.) but at least a few years earlier. Looking to the linguistic peculiarities of the Gujarati prose commentary available in this, it may either be the work of Vrddhivijaya composed in V. S. 1723 (= 16676 A.D.) at Surat, or the work of unknown authorship whose manuscripts of V. S. 1666, 1694, 1732 and 1765 are available at Chani, Kheda etc. On comparison with this other Balavabodha in the Hamsavijaya collection, U. P. Shah has however ascertained that the Devasano Pado manuscript contains, not this other Balavabodha of unknown authorship, but the Balavabodha of Vrddhivijaya. The Upadesamala has been very popular amongst the Svetambara Jainas for several centuries past, and because of the stories narrated by commentators in support of the didactic teaching, the text not only became very popular, but possibly began to be illustrated as well. An Upadesamala-vrtti on palm-leaf, dated V. S. 1291 (= 1234 A. D.) and preserved in Sri Santinatha Bhandara, Cambay, contains a few paintings of which one of Laksmi was published by U. P. Shah.52 Size: 26 x 12 cm. Total folios: 210 Colophon : iti zrI upadezamAchAsUtraM saMpUrNa // saMvata 1765 varSe Asu sudi 5 tithau guruvAsare || oo. (Here ends the Upadesamala sutra. In the year. Samvat 1765, Asu (Asvin) sudi 5 day, on Thursday, for the reading of Pandit Sri Khimavijaya). This manuscript contains 71 miniatures in all of which the first illustrates a Tirthankara without reference to any story. The rest refer to stories. In all 70 stories are given. Motichandra believes that the miniatures cannot be much earlier than 1708 A. D. though Umakant Shah thinks that the last folio was possibly purposefully replaced when the manuscript came in possession of other hands. The manuscript, according to Umakant Shah, could be about twentyfive years earlier. Folio 4 B: Drumaka attended by Arya Candana bala and another nun. The story refers to Drumaka, who had accepted monkhood. The scene is laid in a well decorated canopied room with green 52 Shah, U. P., Studies in Jaina Art (Banaras, 1955), fig. 70 and p. 33.

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NEW DOCUMENTS OF JAINA PAINTINGS: 407 background. The monk is seated to the right wearing a brocade-cadar. They stand in front with folded hands. Size: 8.7 x 11.2 cm. Folio 7B King Prasannacandra's Penance. After renouncing his kingdom King Prasanna Candra became. a Jaina monk. King Srenika, on his way to meet Mahavira, saw him. practising penance and paid his respects to him. In the upper panel, Srenika with two attendants is paying respects to Mahavira seated on a full-blown multi-petalled lotus. Red background. In the lower panel, Prasannacandra is practising penance in a standing position. Srenika alighting from his winged horse is touching his feet. Yellow background with a tree. Size: 8.6 x 11.1 cm. Folio 10 A: Incident from the story of Bahubali. Bahubali, the elder son of Risabhanatha, is practising penance in a beautiful landscape with flowering trees and shrubs and a cloudy sky with flying geese. On the right stands Bahubali with creepers entwining his body and a parrot and a flamingo perched on his shoulders. Standing before him is one of his sisters advising him to give up his subtle ego. Lacquer red background. Size: 8.8 x 11.1 cm. Folio 17 A: The Story of Anangasena. Anangasena, a goldsmith, had 500 wives was. He very distrustful of them and allowed each of them to bathe and decorate herself only when her turn came. Once while he was away, they bathed and decorated themselves. The husband appeared by chance and in anger killed his old wife and was about to kill others, when they threw mirrors at him and killed him. In one of his subsequent lives he was born a woman and accepted several Bhils (who were his previous wives) as husbands. In the upper panel, Mahavira, attended by his disciple, is conversing with two Bhils armed with bows and Lacquer red. background. The lower panel shows the goldsmith reborn as a woman, in the company of the Bhils. Size: 10.1 x 11.2 cm. Folio 22 A: Incident from the story of Jambukumara with his wives. It refers to that part of the story in which Jambukumara with his wives is approached by the thief Prabhava to teach him the magic of control (Stambhini Vidya) but instead, Jambu converts him to Jainism.

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408 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME The scene is laid in a picturesqe pavilion in which Jambukumara along with his wives seated behind the curtain is being questioned by Prabhava. The night is indicated by ceiling lamp and chocolate sky studded with stars. Size: 10 x 11.1 cm. Folio 33 A: Scenes from the life of Vasudeva and Samudravijaya. Once on a summer day when the queen of Samudravijaya sent fragrant sandal-paste in a bowl to her husband through a maid, Vasudeva snatched it and applied it to his own body for which hel was rebuked by her maid. Enraged, Vasudeva leaving the city, wandered in many lands, obtained miraculous powers and married many wives. Once in the course of his adventures he went to the princess Rohini in the guise of a hunchback and, having recognised him, Rohini chose him as her husband. The scene is laid in an arched Audience-hall covered with a canopy. On the right, Vasudeva is seated taking the sandal paste from a maid servant. Behind her are seated courtiers and warriors. In the foreground is represented Vasudeva in the guise of a hunchback and Rohini is offering him the varamala. Red background. Size 9.1 x 10.1 cm. Folio 37 B: Kosa's Dance, a scene from the story of Sthalabhadra. Here that part of the story is presented in which a charioteer shoots down a mango to prove his skill and Kosa reciprocated by dancing on a potful of mustard without disturbing the same; a conventional needle on which she was supposed to have danced is shown. The scene is laid in a pavilion provided with cushions and pots and pans. The charioteer is shooting the mango with an arrow and Kosa is performing her dance. Red background. Size: 9.7 x 11.1 cm. Folio 44 A Scene from the life of Tamali. Tamali practised rigorous austerities on a river bank near the city of Tamralipti. A god appeared to him and requested him to end his life and accept Indrahood over his fellow gods. The scene is laid on the bank of a river which flows from the multi-coloured rocks on which grows a tree. On the left is a bunyan tree under which the ascetic is performing austerities. Before him stands the god offering him the kingdom of heaven. Green background; blue and white sky. Size: 9 x 10.2 cm.

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NEW DOCUMENTS OF JAINA PAINTINGS : 409 It should be noted that generally the pictures in the Upadesamala are plain statements of facts with no external aid such as landscape and decoration to enhance their effectiveness. However, that does not mean that the painter was not qualified to paint the landscape. In this picture, as also in others, he shows his competence in dealing with nature which serves an appropriate background to the theme. Folio 52 B: Incidents from the story of the monk Metarya. It is related that in the course of his wandering, Metarya came for alms to the shop of a goldsmith who had made barley-grains of gold for the use of King srenika. While the goldsmith had gone to another room to bring some material, a bird flew in and swallowed the golden grains. When the goldsmith came back and did not find the golden barley-grain, he accused the monk of theft. The monk kept silent for fear of the bird's life. Enraged at this silence, the goldsmith dragged the monk in the full sun and tied round his head a wet munja string. When it contracted due to the heat, the eyes of Metarya came out. In the meanwhile, a woman carrying a faggot threw it under a tree. The noise frightened the bird which had swallowed the golden barley and it threw them out. The goldsmith was very repentant for his rash action. In the upper panel is depicted a goldsmith's workshop. Under a canopy may be seen the instruments and fire which the goldsmith used. The bird is picking the golden grains and the monk is watching the scene silently. On the left, the goldsmith is bringing out something from a pot. Green and red background. In the lower panel, two scenes are depicted. On the right is represented the closed and locked door to the goldsmith's workshop. In the centre, the goldsmith is tying the wet string to the head of the monk. On the left, the woman wood-carrier has thrown the faggot whose noise had made the bird dislodge the golden grains. Chocolate background, sun shining in the sky. Scenes depicting professions are rare in Indian art. Here the painter has represented the workshop of a goldsmith and depicted the instruments which he used. Size : 9.2 x 10.1 cm. (Colour plate V, Fig. VIII) Folio 68 A : Incident from the life of Balabhadra. . A Jaina monk named Balabhadra practised penance in a forest. A wild antelope used to guide him to the place where alms were

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410 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME available. Once it led him to a chariot-maker who had come to the forest to get wood and had cooked a sumptuous meal which he was glad to offer to the monk. The scene is laid on the bank of a river with a huge tree under which appears a small Siva-temple. Outside the temple the chariotmaker is pouring some liquid food in the bowl of the monk who is accompanied by the black antelope. Green background with lotus flower apparently represents a lake. The artist of the manuscript was at times very fond of representing the trees in great detail. Here the tree knots are depicted and the thick foliage is picked out with brown, giving a very rich effect to the tree. Size : 10 x 10.1 cm. Folio 69 B : Story of Purna Sresthi who turned a Hindu monk. It is related that this hermit, practising penance in a forest had a wooden bowl with four compartments in which he divided the food he received as alms. He reserved food in one compartment for the travellers, in the second for the crows and birds, in the third for fishes in the river and in the fourth he kept some for himself. The scene is laid in a forest with a hillock and flowering trees. On the right the blue coloured monk is seated on a tigerskin. He has offered a part of the food to a traveller, the second part to crows, the third to the fishes in the pond in the foreground and the fourth he is eating himself. Lacquer-red background, blue and white sky. Size : 9.5 x 10.2 cm. (Colour plate VI, Fig. IX) Folio 82 B : Some incidents from the story of Sahasramalla. Sahasramalla or Virasena was originally in the service of king Kanakadhvaja who once ordered him to capture another powerful king named Kalasena which he managed to do by fighting single-handed. Later on this great warrior turned a Jaina monk. In the course of his wandering he reached the city of Kalasena who had been set free. Recognising him, Kalasena ordered his execution. The representation of the story is mixed up. In the lower panel, Sahasramalla dressed as a soldier is shown fighting with Kalasena. In the upper panel is represented the court of Kanakadhvaja in which Sahasramalla is shown to have brought the captivated Kalasena. Red background of upper panel.

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NEW DOCUMENTS OF JAINA PAINTINGS : 411 Reverting again to the lower panel, Kalasena is represented as a Jaina monk in meditation, being executed. Green background. It should be noted that in many illustrations in this series the order of the events is mixed up. This may be due to the restricted nature of the space. The artist was at liberty to paint episodes wherever he found space because he was sure that those who saw the illustrations were well acquainted with the stories which they illustrated. Size : 10.3 x 10.9 cm. (Fig. 25) Folio 110 B : Story of Araaikacarya. Puspacula, a Jaina woman, served very faithfully her old teacher Aranikacarya. Even in the rains, she brought alms for him to which he objected since that was not lawful food. She replied that in the rains there was no life. The teacher was surprised at this as only a Kevalin could know that. She said that he was also destined to attain Kevali-hood on a boat in the Ganges but a god who was his enemy in a previous birth made the boat lose its balance when the monk shifted his seat. Enraged at this, the co-passengers threw him in the river. The god was ready with his trident on which the monk was pinned. It the upper panel is shown a monastery in which the monk is shown reclining on a bed on the right. Outside the monastery stands Puspacula in heavy rains. Blue cloudy sky with rain-drops in the background. In the lower panel, the swirling waters of the Ganges are shown. The boat with the monk and other passengers is on the point of toppling down. In the water may be seen the winged god manipulating the movements of the boat. On the right side is shown the monk pinned on a trident. It is a forceful illustration in which the pose of the monk, the swirling water of the Ganga betokening of the impending tragedy, the tenseness on the faces of the passengers and the death agony of the monk are dramatically represented. Size : 9.6 x 11.1 cm. Folio 112 A : Story of Aranikaputra. It is related that one Devadatta from Mathura went to Mathura in the South with a friend and stayed there with another friend named Jayasimha. There Devadatta fell in love with the beautiful sister of Jayasimha and asked him her hand in marriage. Jayasimha agreed to

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412 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME the proposal provided Devadatta agreed to stay there till a child was born to them. After marriage Aranika conceived but at that time a letter was received by Devadatta from his old father asking him to return. On the way back to Mathura in the north a son was born to Aranika and he was named Aranikaputra. When they reached Mathura they were welcomed by Devadatta's parents. The child when he grew up became the famous monk Aranikaputra. In the upper panel, Devadatta and Aranika are discussing the letter received. Outside the room stands a postman holding a post-bag attached to a javelin, whose representation in Indian art is very rare. On the right Aranika is holding the newly-born child accompanied by her husband. In the lower panel, on the left, Aranika and Devadatta are being welcomed by his father who is holding his grandson in his lap. On the right is represented the monk Aranikacarya followed by an attendant flywhisk bearer. Red and blue background. Size: 10x11.3 cm. (Fig. 26 for enlarged details of the upper panel) Folio 181 A: The Story of a Bird. While wandering in a forest a Brahmana saw a bird entering the mouth of a sleeping tiger, picking its gum. It returned to the tree and implored people not to indulge in that kind of adventure. The Brahmana thought the bird did not practise what it preached. The scene is laid in a forest represented by a tree on either side and rocks in the foreground. On the right the bird with warning notes is perched on a tree. The tiger is shown asleep in the foreground and the bird is entering its mouth. On the left stands the Brahmana wondering at the behaviour of the bird. Red lacquer background; blue cloudy sky with rain-drops falling. Size : 8.7 x 10 cm. Folio 184 B: The Story of the Jackal and the Tortoise. Near the Ganga at Banaras was a lake called Amritdraha. Some foxes used to come to the river and when tortoises came out and stretched their legs, the foxes killed them. A shrewd tortoise, after ascertaining that no fox was there asked his family members to come out and run to the lake nearby where he sought safety. The scene is laid in a colourful hilly landscape with a hill in the centre flanked by decorative trees. In the foreground is depicted the river Ganga flowing in a pool. A tortoise is seen swimming in the waters. There appear four foxes on the scene, one of them is eating

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NEW DOCUMENTS OF JAINA PAINTINGS : 413 a tortoise. Yellow background. Landscape for its own sake is rare in Indian art. The landscape depicted here is distinguished by a decorative spirit which is pleasing. Size : 9.4. x 10 cm. Jambudvipaprajnapti-Prameyaratnamanjusa-tika, dated circa V. S. 1663 (= 1606 A. D.) from the collections of Muni sri Punyavijayaji (No. 1/25) Size : 25.5 x 11 cm. Total folios : 386 Colophon: The author's long panegyric at the end gives the information that sri Vijayasenasuri was honoured by King Akbar. This commentary was composed in V. S. 1660 (= 1603 A.D.) and by the order of Sri Vijayasenasuri this work was edited by his four pupils. Vibudhacandra, the pupil of Santicandra, prepared a number of copies. His pupil Dhanacandra, an accomplished scribe, prepared the first copy of above. This seems to be that copy. Later in different hand-writing we get an entry : Ham 8689 alar (? words are partly erased) GETTI To Braga ato argit X AG 0 pAMcA suSamallanAthA pra. saparivArA e prati vahirAvA chai grAma vAlotarAmadhye rAjya zrI hemakarNajA (jI) vijaiTTE 347. (?) 4731 (?) GERHOTETT 9271 gafaria afer q1azHai fai dan 11 In the margin is an illustration with a label, showing Vijayasenasuri giving this book to a monk. These entries show that this manuscript was written sometime around V. S. 1700 (=1643 A.D.). Later on in Samvat 1749 (= 1692 A.D.) the copy was donated by some people to other monks in the village Balotara situated in Marwar. It is very likely that the manuscript was obtained by the donors from Balotara itself or from some part of Marwar. The manuscript was very likely illustrated in Marwar. Folio 198 A : Installation ceremony of Bharata Cakravartin. The scene, bearing a label in the margin is divided into two panels. In the upper panel appear an ewer, a sparrow and geese. Blue background. In the lower panel, on the right, appears Kisabha sitting on a canopied stool with a cauri-bearer in blue jama standing behind. Bharata wears a jama with pointed ends. A lady sitting on the ground is attending upon the king. Behind her, under a pavilion, stands Bharata with folded hands ready for his installation, behind whom is a door-keeper leaning on his staff. On top of the balcony are seen a drumbeater and a piper. Lacquered red background. Size : 9.6 x 11 cm. (Colour plate VI, Fig. X)

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414 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Krisna-Veli undated manuscript from the collection of Muni Sri Punyavijayaji (No. 1/24). Size of the manuscript : 25.7 x 11 cm. Total folios : 36 The text is in old Gujarati with a commentary. The text wa composed in V. S. 1637 (= 1580 A. D.). Age of manuscript c. 1650 A. D. No colophon. Folia 28 A : Ksisna playing the flute. Standing on one leg in his typical posture is shown the four-handed Krisna playing the flute under shady trees, their growth forming as it were an arch in the background. The blue Ksisna is wearing a yellow lower garment, and a white dupatta and a crown decorated with peacock feathers. A gopi is standing on each side. Red background. The provenance of the manuscript is North Gujarat but it is probably of South-Western Marwar origin. The language of the commentary (taba) is old Gujarati. Size : 11 x 9.3 cm. (Fig. 29) GROUP V Ardrakumara-rasa from the collection of Muni Sri Punyavijayaji (No. 1/18). Size : 25.3 x 10.3 cm. Stray leaves. Only stray leaves of the manuscript have survived. The authorship of the text is not known. The manuscript seems to belong to the latter half of the 17th century, probably of Gujarat or South-Western Marwar origin. The story relates to Ardrakumara, prince from Farther India, who came to India to meet his friend Abhayakumara, a prince of king Srenika of Magadha who is well-known from Jaina canonical and later literature. Folio 2 A: Monk Ardrakumara preaching to a Jaina layman and woman. The scene is laid in sylvan surrounding. To the left is seated the monk Ardrakumara preaching to a man and a woman. Red and black background. Size : 12.3 x 9.5 cm. Folio 11 B: Another incident from the life of Muni Ardrakumara. The scene represents two incidents. Ardrakumara is standing in the centre under a conventional tree. Red background. Behind

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NEW DOCUMENTS OF JAINA PAINTINGS : 415 him are the horse-riders who had come to India with him but were separated, and who now finally meet him. On the left of the monk near his legs is kneeling a mad elephant in chains let loose on him by the Hastitapasa monks. The elephant however suddenly kneels down and bows to the monk. Surprised at this, the Hastitapasas also respected him and became his pupils. Red background. Size : 20.4 x 9.6 cm. (Fig. 30) Samgrahani dated in V. S. 1707 (= 1650 A. D. and painted at Navahar-nagara from the collections of the L. D. Institute of Indology, Ahmedabad (MS. No. 4566). Size : 25. 5 x 10.9 cm. Total folios : 67. The colophon reads : Hac890S A HE URT erfart i steratti zrI sAgaracandrasUrizASAyAM / vAcanAcAryavayaM zrI samayakalazagaNi tatziSya vAcanAcArya sukhanidhAtra (na). gaNi tatziSya paM. guNasenagaNi // likhitaM // xxx navaharanagare // zrI jinakuzalasuriprasAdAt // free 11 11 & 11 Navaharanagara could be identified with Nauhar town, situated about 129 miles north-east of Bikaner city.53 Folio 41 B: The Hell-Tortures. The illustration shows the tortures of hell such as hanging with head down over burning fire, pricking up of limbs by vultures, drowning in a river, piercing by sharp edged leaves, tormenting on a big slab of (stone or metal) killing with an axe or sword and embracing a hot figure of iron. All the denizens of hell suffering hell tortures are painted blue and the tortures are painted yellow. Size : 20 x 9 cm. (Fig. 31) Undated Samgrahani manuscript Muni Sri Punyavijayaji collection (MS. No. 8771). Size : 26 x 10.7 cm. Colophon of this manuscript is deliberately erased with light black ink by some later hand over which is written in red zrI gauDI pArzvanAtha // sit here garrail but the words Samvat 1732 varse Karttika vadi 8, Budhe of original colophon are still visible. Thus the manuscript belongs to the middle of the seventeenth century A.D. (c. 1675 A.D.). The language of the stabaka (commentary) is Gujarati. The manuscript thus pro 53 Cf. Imperial Gazetteer, Vol. XX, p. 135,

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416 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME bably hails from Gujarat. It may be noted that the figure (face) of the monk on 29 A is somewhat similar to that of the monk in Ardrakumara-Rasa published here (fig. 30) and that both the manuscripts hail from Gujarat. Folio 38 B : The Vimanas. The painting shows three Vimanas as in folio 14 B of the Matar Samgrahani dated 1583 A.D. painted by Govinda. Each heavenly car carries a god and a goddess sitting in it. Red and blue background. Size : 14.5 x 10.5 cm. Folio 29 A: Fruits of Actions. Three scenes are depicted. In the first compartment a hermit (tapasa) is performing penance surrounded by five fires. In the second compartment two Jaina monks are conversing. These represent the different actions and practices whose different fruits are described in the text and illustrated in a similar scene in the Matar Samgrahani (folio 19 B). Red background. Size : 22.5 x 10.5 cm. Folio 30 A : Seven Modes of Self-Immolation. Seven modes of self-immolation and their rewards are depicted. Refer to folio 19 B of the Matar Samgrahani-sutra described above. In the first compartment are depicted a man hanging himself, and another drinking poison; in the second compartment a man has drowned himself in a tank. In the lower panel, in the first compartment, a man is shown burning himself to death; in the second one, a man is shown starving himself to death, while the third compartment represents a man and a woman symbolizing moral degradation. In the side panel is represented a man throwing himself down from a mountain-top. Red background. Size : 22 x 10.5 cm. GROUP VI Canda-raja Rasa of Darsanavijaya, dated in V. S. 1712 (= 1655 A. D.) from the collections of Muni Sri Punyavijayaji (No. 1/88), Size : 25.7 x 11.1 cm. Total folios : 78 Several illustrated manuscripts of Rasas dealing with the story of Canda-raja are available. Of these three manuscripts are selected here; the first from Muni sri Punyavijayaji's collections is a paper manuscript written in V. S. 1712 (= 1655 A. D.) at a place called Vyaghrasenapura, as mentioned in the colophon, which is probably

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NEW DOCUMENTS OF JAINA PAINTINGS : 417 Vaghodia near Baroda or Vaghasi in Central Gujarat. Also there was a Vaghachhagrama near Baroda which has now been absorbed in Baroda. The manuscript has 78 folios in all with several illustrations. The text, according to Vv. 63, ff. on the last folio, was completed by its author on Thursday, the fifth of the bright half of the month of Karttika, in Vikrama Samvat 1689 (= 1632 A. D.) at Barhanapura (modern Burhanpur in West Khandesh). The author of the text is Muni Darsanavijaya and the text is called Candamuni-Pemalalacchisati Rasa. The colophon at the end reads : at 863 af A T &T vart gurupuSyayoge likhito'yaM paMDitagaNa ziroratna paMDita zrI. pU. zrIdarzanavijyagaNicaraNasevI prItivijayena 11 gH 799 Il TUTAET || ft 1979T 11 3 11 3 11 All the illustrations in this manuscript have labels either in the margin or on the top. These titles were apparently for the guidance of the illustrator to whom the manuscript was given after the text was completed. In each label, the illustration is called rupa. The background of these miniatures is dull brick red or carmine and the style the Popular or Folk style. However the figures are often lively, with expressive faces. Besides red, light pink, yellow, light dull green, dull light blue, black, and dark grey are used. Folio 37 B : Actors and Pole-dancers. The painting has a marginal label : "The Painting of the poledancers performing". The figures of the pole-dancers are in profile with big heads. The woman on the central pole wears a scarf, a coli, and ghagra. The males wear a jama (known as angarakhu in Gujarat). The draughtsmanship is heavy. Size : 8x11.1 cm. approx. (Fig. 32) Folio 13 A: Portrait of a lady. A marginal label reads Pemalalacchinun sola sringara samyukta rupa, meaning, painting of the lady called Pemalalacchi in full attire (i. e., having all the standard sixteen varieties of srngara). The woman, dressed in green odhani, yellow coli and skirt stands facing to the left holding a mirror. To her ornaments are attached pompons. Red background with fiowering plants. Size : 7x11.1 cm. Candaraja-no Rasa of Darsanavijaya, manuscript dated V. S. 1716 (= 1659 A. D.) painted at Surat from the collections of L. D. Institute of Indology, No. (4560) Ahmedabad No. (4560) Size : 25.5 x 11.1 cm. Total folios : 78

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418 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Colophon : 197 298&a af EART & eft afa GT TIETOJ ft ghejJAtIya vRddhazASIya do. vIrajIsuta kulodyotakAraka sA. dhIrajIsuta kuMarajI tathA amIcaMda pramukhena zrI caMdarAjaRSi kevalIrAsa likhApitaH svavAcanakRte || zubhaM bhavatu // Folio 35 A: The Battle between the Minister Sumati and King Hemaratha. Viramati accepts the challenge and sends his minister Sumati with a force to fight with the army led by Hemaratha. The picture shows Sumati and Hemaratha on galloping horses fighting. In the foreground is lying a dead warrior and two soldiers running with drawn swords suggest rival armies. Red background with flowery shrubs. Size : 9 10.3 cm. (Fig. 34) Folio 39 B: The minister Sumati persuading queen Gunavali to give the cock as a gift to the actors and dancers. King Canda, the husband of Gunavali, was magically transformed into a cock by his wicked stepmother Viramati. Gunavali carefully looked after the cock. A band of actors and pole-dancers who came to the city had in their troupe a woman who understood the speech of birds and animals. The cock made this lady understand the situation and advised her that her troupe should ask for a gift of the cock so as to keep it away from the dangerous Viramati. The minister Sumati who came to know this persuaded the queen Gunavali to part with her dear cock in the interest of its life. The painting shows Gunavali with the cock perched on her hand and the minister sitting in front persuading her. In the foreground is standing the leader of the actors and looking at the two with eagerness. Carmine background. Size : 8 x 10.5 cm. GROUP VI Haribala Caupai, dated Samvat 1744 (= 1687 A. D.) from the collections of the Devasano Pado Bhandara, Ahmedabad (No. 6000). Size of the manuseript : 25.1 x 10 cm. Total folios : 35 Composed by Jitavijaya, pupil of Panditavara Singhayasa (Simhayasa) the pupil of Sri Hiravijayasuri. Colophon : iti zrI haribalacopAi saMpUrNam / saMvat 1744 varSe mAsa vaizAka badi 2 vAra ravi lapataMga ajA zrI5 zrI pemAjI ajA zrI kIsnAjI prasAdAt lakhataM zrI dhAragrAme zrI zrI zrI zrI zrI Folio 4 A: Haribala, a fisherman, meets Dhivara, a Jaina monk. The picture shows Haribala with the fishing net tied to a pole,

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NEW DOCUMENTS OF JAINA PAINTINGS : 419 and bowing down to the Jaina monk. The monk is dressed in a red garment. Haribala is dark grey in complexion and wears a turban, a short dhoti and a scarf. Green background. Flowering plants shown on the ground. Size : 6.5 x 9 cm. (Fig. 35) Folio 18 A : Vasantasiri and Haribala. In the illustration, Vasantasiri and Haribala are shown riding on horseback on the way to a city. In the foreground is a small river with shrubs on the bank. The draughtsmanship is neat and the figures are depicted with a mixed expression of eagerness and fatigue on their faces. Green background. Size : 11 x 6.9 cm. GROUP VII Candraraja Rasa dated V. S. 1869 (= 1812 A. D.) copied in Poona from the collections of Muni Sri Punyavijayaji. Size : 24.3 x 11.5 cm. Total folios : 233 This Canda-raja Rast was composed by Mohanvijaya Gani in 1726 A.D. in Rajanagara (Ahmedabad) according to the colophon on folio 229. According to the colophon the work was called Candanacaritra. Many manuscripts of this text are available in Jaina Bhandaras some of which are noted by M. D. Desai, Jaina Gurjara Kavio, Vol. III, part 2, pp. 1383-87. We have an interesting post-colophon long entry on f. 230 which informs us that in V. S. 1869 (= 1812 A.D.) another Mohanavijaya, from Kaurala (modern Koral or Kurala, near Sinor in Baroda District, Gujarat), has copied this manuscript while staying in Budhavar Peth, Poona (Maharashtra). This he copied at the request of Vakharia Hirachand and others, originally hailing from Vijapur (in Gujarat), and at that time residing in Poona. Mohanvijaya Muni (and possibly) some other Jaina laymen) had gone to Poona (probably to collect funds) for the temple or temples known as 'gavada na dera'. This entry is noteworthy for a proper appreciation of the style of the miniature paintings of this profusely illustrated manuscript. The figures wear Deccani dresses, and the influence of Deccan painting is obvious. It is not at all clear whether the miniatures were done by Mohanavijaya himself or whether a local artist was employed. What is noteworthy however about these miniatures (figure from f. 73 A) is

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420 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME the way in which large crowds are treated, and certain aspects of Gujarati life in the Deccan are represented. Folio 12 A : Virasena and his two queens going out to a garden for picnic. The scene is divided in three sections, on the left Viramati and Candravati are seated conversing under a pavilion. In the middle section, both the ladies on chariots, accompanied by Virasena on horseback and citizens and their wives, are proceeding to the garden. In the third section the garden is represented with Virasena and his wives enjoying themselves. Size : 18.8 x 11 cm. (Fig. 40) Folio 45 A: Worship of the Sixteenth Tirthankara santinatha. In the right hand compartment is shown the shrine of Santinatha. In the central compartment are depicted Jaina laymen in the act of worship; in the foreground are Jaina ladies standing in worship. In the third compartment appear the women of the town, some with babies in hand, others holding bowls, books of prayers, etc., going to the temple. The ladies wear their lower garments without Kaccha, and in the Gujarati mode. In the Deccan, ladies generally wear a sari with Kaccha. Ladies are dressed in red, green, blue, yellow, pink and white garments. Green background. Size : 15.8 x 9.2 cm. Folio 76 B: The Marriage of Candaraja with Premala the princess of Vimalapuri. In the centre is the marriage pavilion with four rows of pots and plantain trees wherein Canda and Premala are shown conversing. To the right are congregated the women of the town, perhaps of the bridegroom's party, and Gunavali and Viramati watching the marriage. In front of the marriage pavilion is the sacred fire in the foreground with Brahmanas offering oblations. On the right are seated the drum-beaters and pipers. To the left of the pavilion (cori) are seated king Kanakaratha, with his courtiers. In the fore-ground are musicians playing and the horse of the bridegroom. Size : 15.4 x 7 cm.* * A separate volume on New Documents of Jaina Painting, with several more Colour and monochrome plates will be published shortly.

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