Chaturvinshati Jin Stotradwaya

This document summarizes two Jain texts titled "Chaturvinshati Jin Stotradwaya" (Dual Stotras of the Twenty-Four Jinas), compiled and edited by Munisuyashchandravijay and Sujaschandravijay, and published by ZZ_Anusandhan.

The introduction highlights the rich tradition of Jain literature dedicated to the twenty-four Jinas (Tirthankaras) across various languages like Prakrit, Sanskrit, Apabhramsha, and Maru-Gurjar. These compositions are known by names such as Chaturvinshati Jinastuti, Chaturvinshati Jinstotra, and Chaturvinshati Jinastava. Some of these works are elaborate, employing complex metrical structures, rhetorical devices, and even picture-poetry formats. Many focus on the Tirthankaras of the current era, often dedicating 12-13 verses to each, while some composers concisely praise all 24 Jinas within just 5-7 verses.

Besides dedicated stotras, the praise of the 24 Jinas is also found in significant works like Hemachandracharya's Trishishtishalakapurushacharita and Lalarsi's Mahavircharitra, as well as in some introductory benedictory verses (namaskara-mangal).

The document then details the two newly acquired and edited works:

1. Chaturvinshati Jinastotra by an Unknown Author:

   • This is a Sanskrit composition of 27 verses.
   • It is suggested to be an early work of the author, possibly facing minor grammatical or word usage challenges due to the effort of maintaining rhyme (antyanupras).
   • Verses 10, 11, 12, and 14 explicitly mention the name of the meter used.
   • The manuscript also indicates the name of the class (varga) according to the syllable count of the meter at the end of each verse.
   • The manuscript is from the Bhavnagar Shrutgyan Pracharak Sabha and is legible.

2. Chaturvinshati Jinastotra by Diptivijay:

   • This composition consists of 26 verses: one auspicious invocation, 24 verses praising each Jina, and one concluding benedictory verse.
   • Each verse praising a Jina thoughtfully highlights a unique quality or superiority of that Tirthankara.
   • Similar to the first work, some original verses or their meanings present ambiguities.
   • Specific meters are identified for some verses: Mandakranta (verse 3), Indravajra (verses 16/23), and Shardulavikridita (verse 26). The rest are predominantly in the Upajati meter.
   • The author, Diptivijay, is identified as a disciple of Manvijayji, who was himself a disciple of Tejvijayji.
   • A note in 'Jain Gurjar Kavi', Vol. 5, mentions Diptivijay composing the 'Mangalkalash Ras' in VS 1749 (1692-1693 CE) at the request of his disciple Dhirvijayji. This record also lists his guru lineage: Tapasvi Vijaydansuri -> Rajvimal -> Upadhyaya Munivijayavachak -> Devavijayavachak -> Manvijay Pandita (Vachak).
   • The same volume also lists a work titled 'Kayavanna Ras' by 'Deepvijay' from VS 1749. It is suggested that 'Deepvijay' might be the same person as 'Diptivijay', given the similar guru lineage for both works.
   • The manuscript is from the Surat Nemi-Vigyan Kastursuri Gyan Mandir and is legible.

The document then provides the full text of both stotras, including the Sanskrit verses and their metrical notations. The first stotra seems to be the one by the unknown author (though not explicitly stated, the verses appear in the original publication's order). The second stotra is then presented as the one by Diptivijay, starting with the invocation to Goddess Saraswati and the gurus. Each verse within these stotras praises a specific Jina, often using analogies from nature or other figures to describe their qualities and impact.

The conclusion states that this collection of stotras, characterized by its skillful use of rhyme and meters, brings happiness to all beings in the world and will endure like the sun and moon. It also notes that those who meditate on the Jinas through these praises become exceptionally happy and renowned.