Bharatiya Jain Shraman Sanskruti Ane Lekhankala

The provided text is an extensive excerpt from the Gujarati book "Bharatiya Jain Shraman Sanskriti ane Lekhankala" (Indian Jain Ascetic Culture and Writing Art) by Punyavijay. It delves deeply into the history and practices of Jain scriptural traditions, focusing specifically on the art of writing within Jainism.

Here's a comprehensive summary of the key themes and content covered in the excerpt:

I. Introduction and Context:

• Purpose of the Book: The book aims to highlight the unique contributions of Jain Shraman (ascetic) culture to Indian civilization, particularly in the field of writing art.
• Interconnectedness of Arts: The preface explains why a detailed essay on "writing art" is included in a book on "Jain art." It states that Jain art is primarily found in illuminated manuscripts, and the development of Jain art is intrinsically linked to the development of Jain writing art.
• Focus on Svetambara Tradition: The author primarily focuses on the knowledge repositories (Jnana Bhandars) of the Svetambara Jain sect, specifically the Murtipujak (idol-worshipping) sub-sect. The Digambara tradition is mentioned briefly, noting differences in the approach to religious texts and their collection.
• Jain Culture's Resilience: The text emphasizes that despite being a minority, Jain culture has survived and thrived due to its all-encompassing development across various fields, including the art of writing.
• Goal of Revival: A key objective of the book is to revive the declining art of writing in the modern printing era, highlighting its importance and the dedication of Jain scholars and communities to preserving it.

II. The Evolution of Indian and Jain Writing:

• Indian Script Development: The book discusses the origin and evolution of Indian scripts, acknowledging the contributions of various scholars. It asserts the independent and ancient nature of Indian scripts, predating external influences.
• Brahmi Script: Brahmi script is identified as the primary Indian script, with its evolution into Northern and Southern styles. It highlights the remarkable phonetic and grammatical accuracy of Brahmi, unmatched by other global scripts.
• Kharaṣṭhī Script: The text discusses the influence of Iranian traders and the Aramic script on the development of the Kharaṣṭhī script, its prevalence in Punjab, and its eventual disappearance from India.
• Jain Script's Identity: The Jain script is presented as an evolution of the Brahmi script, incorporating its own unique features, modifications, and stylistic developments over centuries. The influence of the Bengali script's development from Brahmi is also noted.
• The Role of Jain Munis and Scholars: The text stresses the critical role of Jain monks, ascetics, and scholars in the preservation, creation, and dissemination of knowledge through writing.

III. Jain Writing Materials and Tools:

• Ancient Materials: The book details the various materials used for writing throughout history, including:
  • Palm Leaves (Taḍpatra): The primary ancient writing material, described in detail regarding its preparation and use, especially from the Rājapraśnīya Sūtra.
  • Cloth (Vastra): Mentioned as a material, though less common for full texts, more for diagrams and manuscripts.
  • Paper (Kāgad): Discussed in terms of its ancient Indian origins and later transmission, noting its gradual replacement of palm leaves.
  • Birch Bark (Bhojpatra): Mentioned as a material but its extensive use by Jains for texts is considered unlikely, though possibly used for mantras and talismans.
  • Metal Plates (Kāṁsya, Tāmra, Raūpya, Suvarṇa Patra): Used primarily for inscriptions and specific ritualistic texts, not generally for full manuscripts.
  • Stone (Pashāṇa): Primarily for inscriptions (Shilalekha).
  • Wood (Kāṣṭhapāṭikā): Used for boards and writing tablets.
• Tools and Accessories: The text elaborates on the tools used for writing:
  • Stylus (Lekhaṇ): Described in detail, including the types of reeds used, their preparation, and the examination of their quality.
  • Ink (Maśī): Various types of ink are discussed, including black ink (made from soot, lampblack, etc., with binders like gum, lac, or alum), golden and silver inks, and red ink. The preparation and properties of inks suitable for palm leaves and paper are detailed.
  • Ruling Instruments (Jujvaḷ, Oḷi'yūṁ): Used for drawing straight lines on paper and for marking sections in manuscripts.
  • Ink Pots (Maśibhājaṇa, Khaḍiyā): Described as essential tools for holding ink.
  • Other Accessories: Mention of binding materials, covers (pāṭī, pūṭhā), chains, polishing stones (aṅkā), and cases.

IV. Jain Scripts, Authors, and Writing Practices:

• Jain Script Characteristics: The Jain script is characterized by its specific stylistic flourishes, measurements, and overall aesthetic appeal, developed over centuries.
• Jain Authors: The text acknowledges the diverse origins of Jain scribes, including Kayasthas, Brahmins, Nagars, Mahamāts, and Bhojaks, who dedicated their lives to this art, often supported by the Jain community. It also mentions Jain monks, Yatis, and lay followers (Shravakas and Shravikas) as authors.
• Qualities of a Good Scribe: The text emphasizes the importance of a scribe's skill, clarity of script, knowledge of grammar and languages, and the ability to accurately copy texts without introducing errors. It also touches upon the ethical conduct and disciplined lifestyle expected of scribes.
• Writing Styles: Various writing styles are discussed, including those associated with different monastic lineages (e.g., Yati script, Kharataragachhiya script) and regional variations. The meticulous process of marking lines (using oḷi'yūṁ) and the aesthetic considerations in letter formation are highlighted.
• Manuscript Formats: Different formats of Jain manuscripts are described, including gaṇḍī pustaka, kacchapī pustaka, muṣṭi pustaka, saṁpuṭaphālka, and chedapāṭī, based on their size, shape, and construction.
• Illuminated Manuscripts: The book touches upon the creation of illustrated manuscripts, mentioning the use of various colors and the artistry involved in depicting religious scenes, deities, and auspicious symbols.
• Numbers and Notation: The use of both Brahmi numerical symbols (aṅkātmaka) and phonetic representations of numbers (śabdātmaka) in Jain texts is explained.
• Manuscript Colophons (Puṣpikā): The importance of colophons at the end of manuscripts is discussed, which often contain information about the scribe, patron, date, place of writing, and blessings.
• Preservation and Restoration: The text details the methods used to preserve manuscripts from damage due to environmental factors, insects, and the ravages of time. This includes the use of protective cases, fumigation, and careful handling. It also discusses the techniques for restoring damaged or faded manuscripts.

V. Jain Knowledge Repositories (Jñāna Bhāṇḍāras):

• Establishment and Growth: The text highlights the significant role of Jain kings, ministers, wealthy patrons, and spiritual leaders in establishing and expanding numerous Jñāna Bhāṇḍāras across India.
• Diversity of Content: It emphasizes that these Jñāna Bhāṇḍāras did not solely contain Jain texts but also included works from other Indian traditions, reflecting a broad appreciation for knowledge and a commitment to scholarship.
• Management and Organization: The meticulous system of organizing and cataloging manuscripts within these repositories is described, including the use of covers, cases, numbering systems, and detailed records.
• Geographical Distribution: A list of major Jain Jñāna Bhāṇḍāras in various regions of India (Gujarat, Kathiawar, Marwar, Punjab, etc.) is provided.
• The Role of Ascetics in Preservation: The text underscores the central role of Jain ascetics (Munis, Yatis, Acharyas) in managing, preserving, and expanding these repositories, often against significant odds.

VI. Specific Aspects of Jain Writing Culture:

• "Knowledge of Writing" (Lekhanakalā): This section likely details the finer points of Jain calligraphy, illumination, and manuscript production.
• "Jain Scriptures" (Jain Śrutjñāna): The broader concept of Jain scriptural knowledge, its transmission, and its importance in Jainism.
• "Jain Calligraphy" (Jain Lipi): The unique aesthetic and stylistic elements of Jain scripts.
• "Jain Manuscript Illumination" (Jain Chitra Kalpa): The art of illustrating Jain manuscripts, which often played a role in conveying religious teachings and narratives.
• "Jain Literature" (Jain Sahitya): The vast body of Jain religious, philosophical, and literary works.
• "Jain Culture" (Jain Sanskriti): The overarching societal and religious framework within which writing and scholarship flourished.

VII. Conclusion and Aspirations:

• Appreciation for Tradition: The book expresses hope that the detailed information provided will foster a greater appreciation for ancient Jain writing traditions and encourage their preservation.
• Call for Continued Effort: The author concludes with a call to the Jain community to continue their efforts in protecting and promoting this valuable cultural heritage.
• Future Work: The author expresses a desire to produce a more comprehensive work in the future that covers both Svetambara and Digambara traditions of Jain writing.

In essence, "Bharatiya Jain Shraman Sanskriti ane Lekhankala" appears to be a scholarly and detailed exploration of the rich and intricate world of Jain manuscript culture, highlighting its historical development, materials, techniques, and the profound dedication of the Jain community to preserving sacred knowledge.