Agamgacchiya Jinprabhsurikrut Sarva Chaitya Paripati Swadhyaya - Book Summary

Here's a comprehensive summary of the Jain text "Agamgacchiya Jinprabhsurikrut Sarva Chaitya Paripati Swadhyaya" in English, based on the provided pages:

Book Title: Agamgacchiya Jinprabhsurikrut Sarva Chaitya Paripati Swadhyaya (Self-Study of the Sequence of All Temples by Acharya Jinaprabhasuri of the Agamgachchha)

Author: Acharya Jinaprabhasuri

Editor: Ramniklal M. Shah

Publisher: Z_Aspect_of_Jainology_Part_2_Pundit_Bechardas_Doshi_012016.pdf (Catalog link provided)

Core Content and Significance:

This work is considered possibly the earliest surviving composition of a "Chaitya Paripati" (description and veneration of Jain temples) in the ancient Gurjar language. Unlike many later compositions that focus on a single pilgrimage site, Acharya Jinaprabhasuri's intention was to describe the significance of numerous traditionally accepted, semi-historical, and some historical pilgrimage sites. The work aims to inspire devotion and regular remembrance ("Sajjhay" or self-study) among devotees. The title itself, "Sarva Chaitya Paripati," meaning "Sequence of All Temples," reflects this broad scope.

Source and Dating:

The text was compiled from a palm-leaf manuscript found in the Jain Gyan Bhandar of Khetarvasi in Patan. This manuscript, numbered 12 (N 6), contains a total of 54 works across 264 leaves of varying sizes. The "Sarva Chaitya Paripati" is found on leaves 212/1 to 214/2. The manuscript itself is estimated to be from the early 14th century based on its script.

Author's Background:

Acharya Jinaprabhasuri was a disciple of Devaprabhasuri of the Agamgachchha. He composed numerous short poetic works in late Apabhramsa or ancient Gurjar language. While not much more biographical detail is available about him, other dated works by him provide insight into his active period:

Mayana Rehā-Sandhi: V.S. 1297 (1241 CE)
Varasāmi-Charia: V.S. 1316 (1260 CE)
Namayāsundari-Sandhi: V.S. 1328 (1272 CE)

The "Sarva Chaitya Paripati" is believed to be an early composition by him, evidenced by its simple language and the general nature of its subject matter.

Subject Matter and Structure:

The "Chaitya Paripati" generally describes various locations with Jina temples and provides rituals for veneration. This work follows that tradition. The poet encourages devotees to attain merit by venerating both eternal and non-eternal Jina temples.

Introduction and Auspiciousness: The text begins with an invocation, wishing victory to Jainism and the Jina. It addresses the rarity of human birth and the fortune of those who have attained the Jain Dharma. It then exhorts followers to practice at least partial religious observance (Shravak Dharma, or partial vows) if complete monasticism (Sarva Virati) is not possible. It also encourages Jina worship and giving donations to worthy recipients.
Veneration of Eternal Temples: The poet then lists various significant locations mentioned in the Agamas where eternal Jina temples are situated. These include:
- Bhavanapati (celestial abodes)
- Vyanthara-tish (intermediate beings' abodes)
- Urdhvaloka (upper realms)
- Mount Meru
- Gajdanta (Elephant Tusk)
- Vishadhar (Serpent-dwelling places)
- Vaitādhya mountain range
- Vakshaskara (inner mountains)
- Nandishvara island (with 500 eternal temples)
- Manushyottara mountain range
- Kandala, Rechaka (other significant locations)
The text provides the number of eternal temples in these locations and urges devoted veneration.
Veneration of Non-Eternal and Other Temples: The poet then describes:
- Eternal and non-eternal Jina temples within the three realms of existence (Tiloka).
- Vidyadhara cities like Ratnapur.
- Divine temples in cities like Kṣemā (Kṣemā-mā) in Mahāvideh territory.
Temples in Bharat and Airavat Kṣetras: The text highlights pilgrimage sites in the Bharat and Airāvat continents, particularly where the Kalyanakas (auspicious events) of Tirthankaras took place. It notes that rulers like Bharata had golden images of Tirthankaras made according to their description.
Specific Mention of Important Tirthas: A significant portion of the text is dedicated to listing important pilgrimage sites, many associated with Tirthankara birthplaces or significant events:
- Ashtapada
- Sammet (Sammet Shikhar)
- Revatagiri (Girnar)
- Ayodhyāpuri
- Gajpuri (Hastinapur)
- Kapil (Kāśī)
- Dharmachakra (Takshashila)
- Shauripur
- Varanasi
- Soparak
- Bhrugukachchha
- Vimalgiri (Shatrunjaya)
- Vaibhārgiri (Rajagriha)
- Tamralipti (Tālak)
- Ujjain
- Champa
- Mithila
- Kundagrama (Lord Mahavir's birthplace)
- Shravasti
- Mathura
- Abunda (Abu)
- Satyapur (Sarasvatī)
- Khambhat
- Modhera
- Anhilwad
Conclusion and Benefits of Devotion: The poet concludes by stating that those who prostrate themselves before these eternal and non-eternal temples, where the idols of Rishabhadeva and others are consecrated, have a successful day. He praises those fortunate beings who regularly witness the living Jinas (Vihāramāna Jin) as having achieved their purpose. He also blesses the Ganadharas who composed the twelve Angas and the family of Jinas. The 24th Tirthankara, Vardhamāna (Mahavir), and the four-fold Jain community (Chaturvidha Sangha), by whose grace Jain Dharma flourishes without obstruction, are also blessed. The text emphasizes that those who praise these temples with material offerings (dravya) or inner devotion (bhava) will have their eons of suffering destroyed, all obstacles removed, and will quickly attain the pleasures of heaven and liberation (moksha).

Poetic and Linguistic Aspects:

The composition is written in a simple and flowing late Apabhramsa language.
The title "Sajjhay" (Self-Study) is attributed to a note by the poet or scribe at the end.
The work is indicated to be suitable for singing in a group (as a "Ras") or for recitation in solitude (as a "Belika" or "Bellika").
The first stanza is in the renowned Arya meter, while the rest of the stanzas are in the Chaupai meter, each with four pādas (quarters) of fifteen mātrās (syllabic instants).

Unique Feature:

In the final stanza (verse 25), the poet subtly weaves in his father's name, Jinaprabha (Jinaprabh), through a play on words (leṣ).