Apani Adrushya Thati Lekhankala Ane Tena Sadhno

This document, titled "Apani Adrushya thati Lekhankala ane tena Sadhno" (Our Disappearing Art of Writing and its Tools) by Punyavijay, is a detailed exploration of the traditional Indian art of manuscript writing, its tools, and the materials used, as well as the challenges it faces in the modern era.

The author begins by lamenting the decline of traditional writing arts due to the advent of mechanical inventions and printing. He notes that just twenty-five years prior, there were hereditary scribes (lahiyas) in Gujarat and Marwar who made a living by copying books. However, with the rise of printing, the demand for their services diminished, forcing them to shift their children to other trades. This has led to a scarcity of skilled scribes who can produce beautiful and accurate copies of texts, particularly ancient ones on palm leaves. The author expresses concern that the knowledge of these disappearing arts and their tools will also be lost.

The text then systematically breaks down the components of manuscript writing:

1. Writing Surfaces:

• Palm Leaves (Talpatra): The author distinguishes between two types of palm trees: "Khartad" (common in Gujarat, with brittle leaves unsuitable for writing) and "Shritad" (found in Madras, Burma, etc., with long, flexible, and durable leaves ideal for manuscripts). He emphasizes that the latter type was used for ancient texts and continues to be used in those regions.
• Paper (Kagaz): The author discusses the variety of papers used historically, such as "Bhugaliya" and "Sahebkhani." He mentions that currently, in Gujarat, Ahmedabad and Kashmiri papers are predominantly used. He highlights the strength of Kashmiri paper, which is often requisitioned by the state. He also explains the process of preparing paper for writing by washing it with alum water and then smoothing it with agate or other stones to prevent ink from spreading and to achieve a polished surface. He notes that papers treated with spirits or acids tend to deteriorate quickly.
• Cloth (Kapadun): Cloth was prepared for writing by applying a paste made from wheat flour. After drying, it was polished. While primarily used for writing or drawing charms and spells, and still used for tracing, its use for books was less common than palm leaves or paper.
• Bhojpatra (Birch Bark): This material was mainly used for writing mantras and spells, and is still used for such purposes. Its use in Indian texts is also noted.

The author concludes this section by stating that palm leaves and paper were the most widely used materials for writing manuscripts, with palm leaves being prevalent until the 12th century (Vikram era).

2. Writing Implements (Kalam Adi):

• Pens (Kalam): Various types of reeds were used as pens, including "Tajiyān baru" (hollow like cardamom), "Kālān baru" (black reeds), and bamboo reeds. Tajiyan reeds are noted for their durability of their nibs. The author includes a verse (Dohra) describing the importance of the pen's structure, with a warning against pens with knots that can steal life, wealth, and happiness.
• Brushes (Pichhi): Brushes were used for correcting errors in manuscripts, such as removing or replacing letters and lines by applying a paste of "Harital" or "Safeda." While various brushes are available now, the author specifically mentions brushes made with squirrel tail hair inserted into pigeon feathers as being particularly useful and durable.
• Stylus (Jijkhmi): This tool was used for drawing lines, as pens would become blunt quickly. It is described as being made of iron and having a tong-like tip. In regions where palm leaves are engraved, iron styluses are used instead of pens.

3. Ink (Shahi Adi): The author provides several detailed recipes for preparing ink, categorizing them for palm leaf manuscripts and paper manuscripts.

• Ink for Palm Leaves: Recipes involve ingredients like lampblack (kajal), gum (bol), iron powder (loham), indigo extract (nili), and processed materials. The processes involve grinding, boiling, and mixing these ingredients. Some recipes mention specific methods to remove the gloss from palm leaves before writing.
• Ink for Paper: The author presents six types of ink for paper. He evaluates their longevity and suitability, deeming the first type the best for making books last long. Types 2-4 are considered moderate, but can damage books within three centuries. Types 5-6 are deemed inferior and perishable, suitable only for temporary writing. The recipes for paper ink involve ingredients such as lampblack, gum (from acacia, neem, or babul), various plant extracts, mineral salts, and historical recipes mention the use of bhangra (Eclipta prostrata) juice for vibrancy and lac resin for durability. He also details the preparation of red ink from cinnabar (hingulak) and yellow ink from orpiment (harital).

Special Inks:

• Gold and Silver Ink: The preparation involves making a paste of gum with gold or silver leaf, grinding it until it becomes powder, and then mixing it with sugar water.
• Cinnabar Ink (Red Ink): This involves purifying raw cinnabar through repeated washing with sugar water, then mixing it with sugar water and gum.
• Orpiment Ink (Yellow Ink): This involves grinding orpiment finely and mixing it with gum water.
• Safeda (White Lead) Ink: Prepared by mixing white lead powder with gum water.
• Ashtagandha (Eight Fragrances): Used for writing mantra letters, composed of agar, tagar, gorochana, kasturi, rakta chandan, chandan, sindoor, and saffron.
• Yakshmak: Also used for writing mantra letters, consisting of chandan, saffron, agar, baras, kasturi, bharchak kaal, gorayan, hingulak, rat jani, gold leaf, and amber.

Ink Preparation Methods: The author provides specific instructions on preparing inks in small cakes or discs for later use by adding water. He also details the process of applying gold and silver ink to colored pages, enhancing the brilliance of the letters.

Types of Books: The author quotes a verse from Haribhadra Suri's commentary, describing five types of book formats:

1. Gandi: Long and rectangular.
2. Kachchhavi: Narrow at the ends and wide in the middle.
3. Mushti: Round or square, about four fingers in length.
4. Samputa-phalaka: Having two end-boards.
5. Chhipadi/Supati: Made of thin leaves, tall, or wide.

He also describes:

• Tripath: Books with the main text in the center and commentary above and below.
• Panchpath: Books with the main text in the center and commentary on all four sides (top, bottom, and margins).
• Soodha: Continuous writing without any divisions. He notes that Tripath and Panchpath formats became popular around the 15th century, while Soodha was the norm for ancient texts.

Scribes' Peculiarities and Beliefs: The author mentions some interesting beliefs of scribes regarding letters. They associated certain letters with auspicious or inauspicious outcomes when halting writing. For example, stopping at 'dha' was considered auspicious as it signifies "bringing by dragging," while others were seen as bringing bad luck. Marwari writers particularly used the letter 'v' to signify the end of their writing session.

Palm Leaf Numerals: The author refers to the use of specific numerals on palm leaf manuscripts for page numbering. He notes that while these are documented in "Bharatiya Prachin Lipimala," he provides a general overview, including examples of unit, ten, and hundred digits used in numbering. He also explains how these numerals are combined to represent numbers, often written vertically. He observes that most surviving palm leaf manuscripts have fewer than six hundred pages, though one exception of over five hundred pages is noted in Patan.

Book Preservation: The author stresses the importance of preserving manuscripts, especially during the monsoon season, due to the risk of mold and insects. He advises keeping books protected from air and moisture, storing them in cabinets or chests. He also suggests specific methods for dealing with stuck pages in paper and palm leaf manuscripts, and cautions against over-reliance on gum in ink recipes. He includes verses on protecting manuscripts from water, fire, mice, and careless handling, as well as verses from authors absolving themselves of errors.

Gyan Panchami: The author discusses the significance of Gyan Panchami (Kartik Shukla Panchami), a day traditionally observed for airing out manuscripts to protect them from moisture, pests, and dust accumulated during the rainy season. He notes that this practice is largely forgotten today, with a ritualistic worship of books replacing the actual preservation work. He contrasts this with the current practices in some Jain communities and mentions that the purpose of this day was to encourage collective effort in preserving knowledge.

Conclusion: The author concludes by expressing his hope that institutions like Gujarat Vidyapith and the Gujarat Provincial Museum will inspire individuals to engage with and preserve this endangered art form. He acknowledges the contributions of his gurus, Pujya Muni Shri Kantivijayji Maharaj and Guru Shri Chaturvijayji Maharaj, in providing him with the information for this article.