Anchalgacchiya Shramanono Adwitiya Falo

This document, "Anchalgacchiya Shramanono Adwitiya Falo" by Sarabhai Manilal Nawab, is a scholarly article within a larger publication, focusing on the unique contribution of Anchalgacchiya ascetics to the development, preservation, and flourishing of Jain art, particularly in painting.

The author, Sarabhai Manilal Nawab, draws from his fifty years of experience in observing, publishing, and collecting Jain art. He highlights several significant illustrated Jain manuscripts, primarily focusing on the Kalpasutra and Kalakacharya Katha, as prime examples of this artistic heritage.

Key Points and Examples Discussed:

• Manuscript from Gandhar (Page 1): The author mentions a Kalpasutra manuscript from the Devsana Patha Upashraya in Ahmedabad, specifically the one housed in the Shri Dayavimalji Shastra Sangrah. He notes its 187 pages of Kalpasutra and 14 pages of Kalakacharya Katha, both adorned with "golden lettering" and "artistic Lakshmi" (referring to artistic embellishments). He has published portions of this and other works in his own publications like "Jain Chitra Kalpadrum," "Chitra Kalpasutra," and "Baras Sutra" (published in 1976), which included over 350 illustrations related to music and drama.

• Manuscript from Patan (Page 1-2): Another significant manuscript is a Kalpasutra with illustrated sections from Vikram Samvat 1518, created in Patan, the ancient capital of Gujarat. This manuscript from the collection of Shri Parshwachandra Gachchha in Ahmedabad was described by Nawab in the "Acharya Shri Vijayavallabh Suri Smarak Granth" in 1956. He also published illustrations from it in 1976 in his "Baras Sutra" translation.

• Manuscript from Vadodara (Page 2): A Kalpasutra manuscript from Vikram Samvat 1522, written in Yavnpur (Jainpur), housed in the Shri Atmaram Gyan Mandir in Vadodara, is also discussed. Its rich decorations, golden lettering, and depictions of floral motifs, geometric patterns, and animals are praised. Nawab has published 75 of its artistic creations and its unique style in his aforementioned books.

• Manuscript from Jamnagar (Page 3-15): The article then delves deeply into a particularly unique Kalpasutra manuscript from Vikram Samvat 1558, also created in Patan, which is housed in the Anchalgachhiya Bhandar in Jamnagar. This manuscript is described as a treasure trove of art, featuring intricate floral designs, dancing figures in less than half an inch of space, geometric patterns, and detailed depictions of elephants. The author meticulously lists the illustrations page by page, including scenes from the lives of Mahavir Swami, Parshvanath, Neminath, and Rishabhdev, as well as depictions of the 24 Tirthankaras.

  • The manuscript includes 151 pages of Kalpasutra with 51 illustrations and 13 pages of Kalakacharya Katha with 9 illustrations.
  • Detailed descriptions of the illustrations, their placement, and their artistic significance are provided.
  • The manuscript's colophon (p. 151) mentions its scribe, a Jyotishi Badua, and the lineage of its patron, Shah Raysi Shah and his son Ramsih Shah, who dedicated it to Acharya Shri Kalyan Sagarsuri. The author also discusses the historical context of these individuals.

• Kalakacharya Katha Manuscripts (Page 6-11): The article extensively discusses various illustrated manuscripts of the Kalakacharya Katha, attributing their creation and preservation to the influence of Anchalgachhiya ascetics.

  • A manuscript in Vadodara attributed to Shri Dharmaprabh Suri (V.S. 1389).
  • A manuscript in the collection of Radhakrishna Jalan in Patna.
  • A manuscript in the Limdi Anandji Kalyanji firm's collection.
  • A manuscript in the Dahhela Upashraya in Ahmedabad.
  • The author mentions the prevalence and widespread dissemination of the Kalakacharya Katha across various collections in India and abroad (London, Berlin, New York).

• Contribution of Anchalgachhiya Acharyas (Page 12-22): The article highlights the significant role of prominent Anchalgachhiya Acharyas in patronizing and propagating Jain art.

  • Shri Merutung Suri: His influence on a Kalpasutra and Kalakacharya Katha manuscript from V.S. 1463 is noted.
  • Shri Jayakesari Suri: Under his guidance, 84 Kalpasutra manuscripts were commissioned by Shah Champshi in Bhuj (V.S. 1541). A manuscript from V.S. 1510 in Banaras is also described, with a detailed historical inscription mentioning the patrons (Teja Shah and his family, and Pasa Shah and his wife Chamku).
  • Shri Dharmamurti Suri: His patronage is evident in a illustrated manuscript of Kshetra Samas from V.S. 1633, written in Alwar during the reign of Akbar. This period is significant for the fusion of Mughal and Indian art.
  • Shri Kalyansagar Suri: The author details his significant contributions, including his influence on the Jamnagar manuscript gifted by Shah Raysi Shah. Kalyansagar Suri's life story is presented, including his miraculous intervention with Emperor Jahangir and his influence on Maharav Bharamallji of Bhuj. His literary works are also mentioned.
  • Mahopadhyaya Vinay Sagar: A disciple of Kalyansagar Suri, his scholarly contributions, including his work on grammar and his role in writing manuscripts, are discussed.

Overall Theme:

The central theme of the article is to showcase and acknowledge the profound and "unique contribution" (Adwitiya Falo) of the Anchalgachhiya sect of Jain ascetics and their patrons towards the preservation, promotion, and artistic development of Jain illustrated manuscripts, particularly the Kalpasutra and Kalakacharya Katha. The author emphasizes that these ascetics were not just religious leaders but also significant patrons of art and culture, fostering a rich artistic tradition within Jainism. He concludes by calling for the publication of these precious manuscripts to make this artistic heritage accessible to a wider audience.