Chatushasthi Evam Dwatrinshad Dalkamalbandh Parshwanath Stava

Here's a comprehensive summary of the provided Jain text, "Chatushasthi evam Dwatrinshad Dalkamalbandh Parshwanath Stava" by Vinaysagar, focusing on the introductory and descriptive parts:

The article, published in September 2010, introduces and presents two works by the author Shri Saropadhyaya: "Chatushasthi Dalakamalbandh Parshwanath Stava" (Stava of Parshvanatha in Sixty-Four Petal Lotus Pattern) and "Dwatrinshad Dalakamalbandh Parshwanath Stava" (Stava of Parshvanatha in Thirty-Two Petal Lotus Pattern).

Critique of Chitrakavya (Picture Poetry): The author begins by acknowledging that literary scholars often consider chitrakavya (picture poetry) as a lesser form of poetry. However, they argue that the creation of chitrakavya is impossible without exceptional talent and that such works have historically been prevalent for scholarly gatherings and entertainment.

Shri Saropadhyaya - The Author:

• Identity: The article identifies Shri Saropadhyaya as the author of these two works.
• Lineage: According to the "Brihad Itihas of Khartargachh" (page 332), Shri Sar was in the third tradition of Kshemakirti.
• Initiation: It is suggested that Shri Sar's initiation likely occurred at the hands of Shri Jinsinh Suri or Shri Jinraj Suri II.
• Scholarship and Influence: Shri Saropadhyaya was a profound scholar of all scriptures and defeated many opponents in philosophical debates. He is believed to have been a supporter of the Shri Jinrang Suri branch, and it is possible that this branch originated or gained prominence due to him.
• Shri Sarkiya Upashakha: A separate sub-branch called the Shri Sarkiya Upashakha was formed from Shri Saropadhyaya, though it may not have continued.
• Time Period: His period is estimated to be the latter half of the 17th century and the first quarter of the 18th century.
• Literary Works: A comprehensive list of Shri Saropadhyaya's literary creations is provided, encompassing a wide range of devotional, narrative, grammatical, and doctrinal texts. This includes:
  • Narrative poems (velis, ras, chaupais) like "Krishna Rukmini Veli," "Jayatihuvan Bala," "Parasnath Ras," "Jinraj Suri Ras," and "Mrigaputra Chaupai."
  • Works on spiritual stages (gunasthanas) such as "Gunashthanakramaroha Bala" and "Gunashthanakramaroha."
  • Grammar books like "Saraswat Vyakarana Balavabodh."
  • Lists of devotional hymns and praises (chhattis, battisi, bavani, sattari, stavana) dedicated to various Tirthankaras and religious figures.
  • Texts on philosophical topics like "Agam Chhattis," "Dharma Chhattis," "Svadhyayas" (e.g., "Dashbol Svadhyaya," "Dharma Vichar Svadhyaya").
  • Specific stavans dedicated to Parsvanatha, such as "Phalodi Parsvanatha Stava" and "Bhatris Dalakamalbandh Parsvanatha Stava."
  • Works on other Tirthankaras like Neminatha, Vasupujya, and Chandraprabha.
  • The article also references the "Khartargachh Sahitya Kosh" for a more extensive list of his shorter works.

The Presented Works:

• "Chatushasthi Dalakamalbandh Parshwanath Stava": This work is written in Sanskrit. It is a chitra-kavya (picture poetry) that describes the Tirthankara Parshvanatha in the form of a sixty-four-petaled lotus. It is considered a praise of the Parsvanatha idol in Jaisalmer.
• "Dwatrinshad Dalakamalbandh Parshwanath Stava": This work is written in Rajasthani language. It is also a chitra-kavya praising the Parsvanatha in Jaisalmer, structured in a thirty-two-petaled lotus design.

Condition and Source: Both of these works are currently in a fragmented state. Scattered leaves (sphut patra) have been found in the Jaisalmer Gyan Bhandar (library). The article presents these two works based on these findings.

The Stavas Themselves (Excerpts Provided): The article then includes a few verses from each of the stavas, highlighting their poetic and devotional nature, and their descriptions of Parshvanatha's glory. The first stava (Chatushasthi Dalakamalbandh) begins with verses praising the divine, the second (Dwatrinshad Dalakamalbandh) uses devotional language in Rajasthani to praise the Tirthankara.

Additional Section - Jinbhadra Suri and Dvadashangi Shruta: The latter part of the article shifts focus to discuss Jinbhadra Suri and his connection to the "Dvadashangi Padpraman-kulak."

• Dvadashangi Shruta: It explains that after attaining Kevalgyana (omniscience) and delivering pronouncements, the Tirthankaras spoke the "artha" (meaning) while the Ganadharas ("Gachhadhipatis") composed the "sutra" (formulations). This collection of teachings is known as the Dvadashangi Shruta.
• Jinbhadra Suri: The article states that Jinbhadra Suri is credited with composing the "kulak" (a type of poetic composition) concerning the "padpraman" (meter or syllable count) of the Dvadashangi Shruta. It mentions that Jinbhadra Suri's life's goal was the preservation and expansion of Shruta (scriptural knowledge), making the attribution of this work to him appropriate.
• Historical Context of Jinbhadra Suri: It provides a biographical sketch of Jinbhadra Suri, detailing his lineage from a merchant family in Devulpur, his upbringing, and his initiation into Jain monasticism after being inspired by Jinrajsuri Ji. It highlights his appointment to the position of Gachhanayak after a period of time due to the need for the upliftment of the Gachha.

In essence, the article is an academic presentation and appreciation of two specific chitra-kavyas dedicated to Parshvanatha, authored by the esteemed scholar Shri Saropadhyaya, while also briefly touching upon the importance of scriptural preservation through the work attributed to Jinbhadra Suri.