Aeravat Chabi

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The book "Aeravat Chabi" (Elephant Image) by Kundanlal Jain is a detailed exploration of the mythical elephant Airavata, its significance in Jain literature, and the broader cultural importance of elephants in India.

The author, Kundanlal Jain, discovered a poetic composition titled "Aeravat Chabi" in a collection of scriptures while surveying Delhi's libraries for the "Delhi-jin-granth-ratnavali." This composition, similar to the "Mangal" of Airavata in Pandit Rupchandji's "Panchmangal Path" (circa 16th century CE), impressed him and was added to his collection.

The inspiration to write further on this topic was rekindled by an article by Shri Bahadur Chandra Chhabra about an inscription in Java detailing an enormous elephant footprint on a stone slab. This inscription mentioned King Purnavarma's elephant 'Jayavishal' from the 5th century CE, which was described as being as magnificent and grand as Indra's Airavata. This historical artifact further motivated the author to study Airavata in more depth.

The text then delves into the extraordinary scale and attributes of Airavata as depicted in Jain cosmology. It explains that when a Tirthankara is born, Lord Saudharmendra's throne trembles. To transport the Tirthankara for the ceremonial anointing on the Panduk Shila, Saudharmendra creates a magical Airavata. This mythical elephant is described as one hundred thousand Yojana (a unit of distance) long and wide. It possesses one hundred large faces, each with eight tusks. On each tusk, there is a vast lake, and in each lake, there are 125 lotus plants. Each lotus plant has 25 lotuses, and each lotus has 108-109 petals. On each petal, an Apsara (celestial dancer) is depicted dancing. In total, Airavata is accompanied by twenty-seven crore (270 million) dancing Apsaras. Saudharmendra then places the Tirthankara on this magnificent Airavata to perform the sacred ablution.

The author notes that this mathematically elaborate description of Airavata was also discussed by Pandit Rupchandji and Shri Navalshah (author of Vardhamanpuran), both active around the 16th century CE. Similar descriptions can be found in the "Aeravat Chabi" composition itself. However, Jain Acharyas like Jinadatta Suri in his "Harivansha Purana" (Sanskrit) and Pushpadanta in his "Mahapurana" (Apabhramsha), from the 8th-9th centuries CE, describe Airavata more in an ornamental and poetic style, suggesting it was more of a literary embellishment. The text includes poetic excerpts from Jinadatta Suri and Pushpadanta to illustrate this.

The author then presents a "Chhappay" (a type of Hindi meter) composed by an unknown poet, which is the primary focus of the article. This poem provides a vivid and elaborate description of Airavata, detailing its immense size (one lakh Yojana), its 108 tusks, the lakes on each tusk with 125 lotuses, each lotus with 25 flowers, and each flower with 108 petals, on which 27 crore Apsaras dance. It also describes the musical instruments played by the Apsaras and the adornments of the elephant and the celestial beings.

Following this, the author shares the poetic renderings of Airavata by Pandit Rupchandji and Kavi Navalshah, reiterating the astronomical numbers of Apsaras and the intricate details of the mythical elephant.

Beyond the literary and religious descriptions, the text also emphasizes the cultural significance of elephants in Indian life. Elephants have been a symbol of power, civilization, intelligence, devotion, courage, patience, wealth, leadership, sacrifice, and faith. They were a vital part of ancient Indian armies. The existence of the medical treatise "Hastyayurveda" highlights the importance of elephants in daily life. The elephant's integral role in the Chaturanga army eventually led to the evolution of the game "Shatranj" (chess), symbolizing intellect and talent.

Religiously, elephants are venerated. Lord Ganesha, the son of Shiva and Parvati, is depicted with an elephant head and is invoked at the beginning of all auspicious occasions for the smooth completion of tasks. In Buddhist Jataka tales, Queen Maya dreamt of a white elephant entering her womb before the birth of Buddha, signifying his divine conception. The term "Gajalaxmi" is also associated with elephants, often depicted showering water on Lakshmi from their trunks.

In Jainism, a white elephant is one of the fourteen or sixteen auspicious dreams seen by a Tirthankara's mother before birth, signifying the conception of a Tirthankara. The story of "Gajendra Moksha" is found in various religious texts. The term "Shadadanta" in Jatakas refers to a giant elephant. The author also notes that in Jain cosmology, the name "Airavata" is given to one of the seven regions of Jambu-dvipa, suggesting the word itself implies vastness.

The text mentions Elephanta Caves in Mumbai, named after the elephant, as a symbol of elephantine glory dating back to the Buddhist period, and the rock inscription in the Elephant Cave at Khandagiri-Udayagiri in Odisha as a valuable archaeological treasure.

Historically, elephants were status symbols for wealthy individuals and royalty. While their utilitarian value has decreased in the age of modern technology, efforts are being made to conserve them for ecological balance, as seen in the annual "Kheda" festival in Karnataka where wild elephants are tamed.

In conclusion, "Aeravat Chabi" underscores the immense and multifaceted importance of the Airavata (elephant) in Indian life – literary, religious, economic, cultural, archaeological, and historical. The author expresses a wish for its continued significance in the future.