Aakar Chitra Rup Stotro Ka Sankshipta Nidarshan

Here is a comprehensive summary in English of the Jain text "Aakar Chitra Rup Stotro ka Sankshipta Nidarshan" by Dr. Rudradev Tripathi:

The article, "A Concise Demonstration of Form-Picture Stotras in the Context of Jain Stotra Literature," by Dr. Rudradev Tripathi, explores the unique and artistic tradition of "Chitra Bandha" or "Form-Picture" stotras within Jain literature. The author argues that the primary purpose of stotras is the remembrance of the deity and the recitation of their virtues, and that this can be achieved through various poetic compositions, even those employing intricate visual patterns.

Key Concepts and Themes:

• The Nature of Stotras: The text begins by defining stotras as hymns dedicated to a deity, aimed at invoking their name, praising their qualities, seeking solace, grace, or relief from worldly suffering. The core sentiment is the praise and expression of gratitude towards the beloved deity.
• Poetic Beauty in Stotras: While stotras may be structured as a collection of independent verses (muktak), their aesthetic appeal is enhanced by the "Ukti Vaishishtya" (excellence of expression) and the inclusion of "Ras" (aesthetic sentiment). The author emphasizes that the poetic quality lies in the skillful arrangement of words and meanings, which can uplift the soul and invoke auspiciousness.
• Chitra Bandha (Form-Picture Stotras): The central focus is on a specific category of stotras known as "Chitra Bandha" or "Aakar Chitra Rup Stotras" (form-picture stotras). These are hymns where the verses are arranged to form specific visual patterns or shapes.
  • Definition: When a stotra is composed with one specific visual form, it's called "Ek Chitralankar Yut Stotra" (a stotra with one picture-ornament). If multiple such forms are used within a single stotra, it's termed "Anek Chitralankar Yut Stotra" (a stotra with many picture-ornaments). Jain scholars have extensively utilized both these categories.
  • Purpose of Chitra Bandha: The creation of these intricate patterns aims to marvel and delight the listener or reader through the unique structure of the composition. This is achieved through the clever arrangement of letters, words, and verses.
• Classification of Chitralankara: The article touches upon the broader classification of "Chitralankara" (picture-ornaments) within "Shabdalankara" (word-ornaments), noting that "Chitra" here refers to wonder and form. These can be further categorized as "Akriti Mulak Chitralankara" (form-based picture-ornaments), where verses are written in various shapes.
• Examples of Form-Picture Stotras and Their Creators: The bulk of the article provides a historical overview and detailed examples of prominent Jain acharyas and their contributions to this genre, highlighting specific stotras and their visual forms:
  • Acharya Samantabhadra: Known for his "Stuti Vidya" (Jineshthak), which features numerous "Muraj Bandha" (drum-like formations) and "Gati Chitra" (movement-pictures). Some verses are "Anulom Vilom" (reciprocal) where reading forward and backward creates different verses.
  • Acharya Gunabhadra: Composed a "Shantinath Stotra" with an "Ashtadal Kamal Bandha" (eight-petaled lotus formation).
  • Acharya Dharmaghosha Suri: Created a "Sarvajin Stava" with a 24-petaled lotus formation ("Chaturvishati Kamal Bandha") and a "Har Bandha" (garland formation).
  • Pandit Dharmashekhar: Wrote a "Sarvajin Sadharan Stavana" featuring a 64-petaled lotus formation ("Chausath Dal Kamal Bandha").
  • Shri Kulmandan Suri: Composed "Panchjin Haar-Stav" (Garland Stotra of Five Jin), "Shri Veer Hari-Stav" (Garland Stotra of Shri Veer), and "Shri Veer Jin Stuti" (Praise of Shri Veer Jin), all employing "Har Bandha" and other intricate patterns.
  • Acharya Jinaprabha Suri: A prolific composer, his stotras are noted for their complex "Akar Chitra Rup" compositions, including lotus, sword, chakra, chamara (fly-whisk), trident, bow, seed-filling, drum, pestle, force, arrow, plough, garland, and reciprocal verses. He is credited with creating an "Ashtadash-Chitra-Chakra-Vimalam" (Eighteen-Picture-Wheel).
  • Acharya Somitilak Suri: Composed a "Virjin Stotra" with various lotus formations of different petal counts.
  • Muni Sundar Suri: Known for his vast output, including stotras with intricate "Chitra Bandhas" such as temple, lotus, chakra, pictorial letters, semi-circular, Sarvatobhadra, drum, throne, Ashoka, drum, Samavasarana, lake, and eight great auspicious symbols.
  • Upadhyay Shri Jayasagar: Created "Vijnapti Triveni," a work featuring various "Chitra Alankaras" like umbrella, lotus, cow-urine pattern, semi-circular, seed-filling, seat, chamara, eight-spoked wheel, and swastika.
  • Shri Jayashekhar Suri: His "Chaturaharavali" includes stotras dedicated to present, past, and future Tirthankaras, with verses forming intricate patterns like 24-petaled lotus, swastika, vajra, and Bandhuka swastika.
  • Shri Udayamanikya Gani: His "Ashtamangal Chitra (Bandha) Stava" forms the shapes of the eight auspicious symbols: mirror, auspicious seat, shell-bowl, pair of fish, pitcher, swastika, Shrivatsa, and pair of chamaras.
  • Shri Sahajkirti Gani: His "Shatadal Kamal Bandhamay-Parshvaneshwar-Stuti" features a 100-petaled lotus formation.
  • Shri Samaysundar Gani: Composed stotras in "Shrinkhala" (chain) and "Har Bandha" (garland) formations.
  • Shri Vallabh Gani: Created a "Sahasradal Kamal Bandharoop-Aranath Stava" with a 1000-petaled lotus formation.
  • Unknown Poet: Composed a "Shanti-Jina Stuti" in a "Mahasvastika Bandha" (great swastika formation).
  • Jinabhadr Suri: His "Parshvanath Stava" includes numerous "Chitra Bandhas" like chakra, flag, chamara, umbrella, lotus, lamp, mirror, Shrivatsa, conch, bell, garland, aircraft, torana, swastika, and pitcher.
  • Mahavir Saubhagya Gani: Composed a "Nagpash Bandhamay" (serpent-noose formation) stotra.
  • Unknown Author: Composed a "Sadharan Jinastav" with various picture-formations like umbrella, throne, and chamara, showing originality in creating new patterns.
  • Unknown Author: A "Chaturvishati-Jinastuti" featuring a variety of picture-formations like Omkar, Hreemkar, Namah, conch, Sudarshan Chakra, garland, cow-urine pattern, mirror, shell, sun, moon, vajra, seed-filling, sword, arrow, bow, dagger, plough, lotus, serpent-noose, quiver, swastika, and trident.
• Modern Contributions: The article notes that even in recent times, Jain acharyas and saints, including followers of Acharya Nathmal Muni and Acharya Tulsi, have continued to compose such stotras, preserved in their manuscripts. Scholars from various Jain sects have also contributed.
• Preservation and Future: The author laments that despite the rich tradition and the artistic merit of these form-picture stotras, many remain unpublished and unknown due to a lack of focused scholarly attention and effort. He expresses hope that by bringing these to light, Jainism can showcase a significant contribution to the world of literature and art.

In essence, the article is a scholarly presentation and appreciation of a remarkable and intricate tradition within Jain devotional literature, showcasing the creativity and skill of Jain scholars in combining spiritual devotion with visual artistry.