Bhaktamar Stotra Padpurti Adinath Stotram

Here's a comprehensive summary of the provided Jain text, focusing on the "Bhaktamar Stotra Padpurti Adinath Stotram" by Vinaysagar, based on the provided pages:

Title: Bhaktamar Stotra Padpurti Adinath Stotram (Accomplishment of Bhaktamar Stotra through Verse Completion - Hymn to Adinath)

Author: Vinaysagar (compilation/editing), with the original composition attributed to Shri Vivekchandra.

Publisher: ZZ_Anusandhan (as indicated by the catalog link)

Context and Background:

The text begins by introducing the work as Shri Vivekchandra Gani Krit Bhaktamar Stotra - Padpurti Adinath Stotram, compiled by Samagra Maharashtra Vinaysagar. It highlights that this Padpurti (verse completion) work is attributed to Shri Vivekchandra Gani.

The lineage of Shri Vivekchandra Gani is traced back through several prominent gurus of the Tapagachcha tradition:

• Disciple of Upadhyay Sakalchandragani.
• Disciple of Surachand.
• Disciple of Shri Bhanuchandra Gani.
• Shri Vivekchandra Gani himself.

The text emphasizes that Vivekchandra Gani had the opportunity to witness and serve three generations of gurus: Vijaydansuri, Vijayhirsuri, and Vijaysensuri.

A significant historical connection is made to Acharya Hiravijayasuriji, who had a profound influence on Emperor Akbar. To maintain this influence, Hiravijayasuriji kept disciples like Shantipathganani and Bhanuchandra Gani close to Akbar, while he himself traveled in Gujarat. Bhanuchandra Gani also had a considerable impact on the Emperor. Akbar conferred the title of Upadhyay on Bhanuchandra Gani and he was later counted among the Mahopadhyays. It is mentioned that Emperor Akbar would listen to the "Suryasahasranama" every Sunday from Bhanuchandra Gani. Bhanuchandra Gani is also mentioned in the "Ain-i-Akbari" and remained in Akbar's court until his death, from approximately 1561 to 1582 CE (Samvat 1618 to 1639).

Bhanuchandra Gani was a learned scholar, and further information about him can be found in the 'Bhanuchandra Charitra' written by his disciple Siddhichandra. Vivekchandra was a talented scholar among Bhanuchandra's many disciples, but apart from this work, no other composition by him has been found. Therefore, details about his life are unavailable.

The Art of Padpurti (Verse Completion):

The text explains that creating a "Padpurti" is a more challenging task than composing an original poem. In Padpurti, the author takes a partial verse (shlokansh) from a previous poet and builds upon it to create a new composition on a different theme, while still preserving the original poet's sentiment and spirit.

The Bhaktamar Stotra:

The original Bhaktamar Stotra is attributed to Shri Mantungsuri. The text notes that both the Bhaktamar Stotra and the Kalyan Mandir Stotra are universally renowned and accepted by both Shvetambara and Digambara Jain traditions. The Shvetambara tradition recognizes 44 verses, while the Digambara tradition recognizes 48 verses.

Types of Padpurti and Other Similar Works:

The text outlines two types of Padpurti:

1. Based on each quarter (charan) of every verse.
2. Based on the final quarter (charan) of a verse, while preserving the sentiment.

The text then lists numerous "Padpurti Stotras" and "Chhaya Stavan" (shadow hymns) that have been composed in imitation of the Bhaktamar Stotra by eminent poets. These include hymns dedicated to Neminath, Rishabh, Shanti, Parshva, Vira, and Saraswati, as well as other variations.

The Present Work (Bhaktamar Stotra Padpurti Adinath Stotram):

Vivekchandra, the author of this specific Padpurti, is credited with preserving the sentiments of Shri Mantungsuri and advancing them. The quality of this work suggests that Vivekchandra was a profound scholar of Sanskrit literature and participated in "Samasyapurti" (composing verses to complete a given line or idea).

The work is being published due to its aesthetic appeal and readability. It is mentioned that only one manuscript of this work has been found, but its location in a library is not known, for which the editor apologizes.

The Stotra Itself (Selected Verses):

The stotra consists of 45 verses, dedicated to Lord Adinath (the first Tirthankara). The verses praise Adinath's divine qualities, power, and ability to alleviate suffering. Several verses compare Adinath to celestial beings and natural phenomena like the sun, moon, and wish-fulfilling jewels to highlight his unparalleled glory.

Key themes in the verses include:

• Adinath as the sustainer of the world.
• His teachings as the path to liberation.
• The futility of worshipping other deities compared to him.
• His radiant form and virtuous qualities.
• His name and devotion as a means to overcome worldly suffering and karmic bondage.
• The verses express deep devotion and seek Adinath's grace for spiritual progress and liberation.

Concluding Remarks:

The stotra concludes with a verse acknowledging the composer, Vivekchandra, as a servant of the lotus-like feet of the great Muni Bhanuchandra. It states that the first Tirthankara (Adinath) has been praised through these verses, fulfilling the "Samasya Kavya" (problematic poetry).

Editorial Notes:

The editor notes that the edition is "almost pure" as the original manuscript was not available. Efforts were made to correct errors where possible, but the published text largely reflects what was sent by the editor of the manuscript. Verse 26 is incomplete.

Additional Information (Page 7):

Page 7 appears to be an unrelated excerpt describing another work titled "Bhavanbhusana-Bhusana-Bhavan Kavya" by Vachak Sadhuharsha, a work in an "Ashtak" (eight-verse) format. This section details the manuscript's condition, calligraphy, and mentions its discovery from an incomplete manuscript. This part is distinct from the Bhaktamar Stotra Padpurti Adinath Stotram.