Chikur Dwatrinshika - Book Summary

Here's a comprehensive summary of the provided Jain text, "Chikur Dwatrinshika" by Kumudachandra Acharya, based on the excerpts you've provided:

Title: Chikur Dwatrinshika (also known as Sri Adinath Stuti) Author: Kumudachandra Acharya Publisher: Z_Nirgrantha_1_022701.pdf, Nirgrantha_2_022702.pdf, Nirgrantha_3_022703.pdf Catalog Link: https://jainqq.org/explore/249328/1

Overview:

The "Chikur Dwatrinshika" is a devotional hymn attributed to Kumudachandra Acharya, a Digambara Jain scholar who lived in the medieval period in the Karnata region. The text is presented alongside a discussion about the authorship and historical context of the renowned "Kalyanmandirastotra," which is also sometimes attributed to Kumudachandra. The provided text primarily focuses on establishing the Digambara origin of the "Kalyanmandirastotra" and introduces the "Chikur Dwatrinshika" as another work by the same author, Kumudachandra.

Key Arguments for Kumudachandra Acharya as the Author of Kalyanmandirastotra:

The authors, Madhusudan Dhaki and Jitendra Shah, present several arguments to support their assertion that the "Kalyanmandirastotra" was authored by a Digambara scholar named Kumudachandra, not the Svetambara Siddhasena Divakara, as is a common belief in the Svetambara tradition.

Absence of "Kumudachandra" in Svetambara Tradition: There is no record of an Acharya or monk named Kumudachandra in the Svetambara tradition's inscriptions, text colophons, or lineage records. In contrast, the Digambara tradition has references to several monks named Kumudachandra in medieval Karnata inscriptions, suggesting the name was prevalent within their community.
Stylistic Differences: The style of the "Kalyanmandirastotra" is distinct from other hymns attributed to Siddhasena Divakara. Its structure and occasional expressions of emotion show a more developed style, with clear medieval characteristics. The choice of words, idioms, similes, and metaphors also point towards a medieval composition.
Resemblance and Inferiority to Bhaktamarastotra: The "Kalyanmandirastotra" bears resemblance to the famous "Bhaktamarastotra" by Mantungacharya, even being composed in the Vasantatilaka meter and having a similar number of verses (44). However, despite its poetic merit, it is considered of a lower artistic quality than the "Bhaktamarastotra," suggesting it was composed approximately five hundred years after the latter.
Clumsiness in Verses: While some verses are beautiful, many exhibit complex, awkward, and laborious verse construction, hindering the poem's flow.
Unique Vocabulary: Certain words and phrases used in the "Kalyanmandirastotra" are not found in other Svetambara hymns but are present in Digambara works.
Interpretation of Suradundubhi-Pratiharya: The description of the "Suradundubhi-Pratiharya" (divine drum) in the 25th verse of "Kalyanmandirastotra" aligns with the Digambara text "Tiloypannatti" (circa 550 CE), rather than the Svetambara interpretation.
Other Digambara-Aligned Interpretations: The hymn includes other instances that contradict Svetambara beliefs and align with Digambara traditions, such as the description of "Chamara-Pratiharya" (divine whisk) using the term "Chamaraugha" (mass of whisks), which is consistent with the Digambara concept of thousands of whisks, unlike the Svetambara view of two. Similarly, the description of "Divyadhvani-Pratiharya" (divine speech) in the hymn, where the Tirthankara's divine speech emanates from the ocean of their heart and is understood in listeners' languages, aligns with the Digambara tradition.
Connection to "Chikur Dwatrinshika": The authors highlight another work by Kumudachandra, a hymn dedicated to Lord Rishabhadeva, which begins with the word "Chikur" and is known as "Chikur Dwatrinshika." This hymn, which also mentions Kumudachandra's name in the final verse through wordplay, is unknown to the Svetambara community but somewhat known in the South. The presence of the Arabic word "Hevaka" in this hymn further supports Kumudachandra's medieval origin.

Historical Context and Transmission:

The authors suggest that Kumudachandra lived in the 12th century CE. They propose that he might have been the Digambara muni who debated with Devsurisuri in the court of King Jayasinghadeva of Gujarat around 1125 CE. It's possible that copies of his "Kalyanmandirastotra" were made in Gujarat during that period. The hymn might have gained popularity in the Gujarat Digambara community first and then entered Svetambara scriptoriums. Due to its devotional quality, it was accepted by the Svetambara tradition. Over time, as knowledge of the author's sect faded, it was attributed to a Svetambara author, with the final verse's mention of "Kumudachandra" being creatively interpreted as Siddhasena Divakara's initiation name.

Nature and Content of "Chikur Dwatrinshika":

The "Chikur Dwatrinshika" is identified as a hymn to Lord Adinath (Rishabhadeva) in the Shikharini meter. It focuses on praising the Tirthankara's hair through various similes. The hymn exhibits sophisticated language, the use of puns (shlesha) related to hair, and a rich vocabulary, sometimes making it difficult to understand for the common person. This complexity, along with the natural flow, might be why it hasn't achieved the widespread popularity of the "Kalyanmandirastotra." The hymn's historical value is enhanced by its final verse, which addresses Lord Adinatha as the presiding deity of Shatrunjay Hill, a significant Svetambara pilgrimage site. The authors note the rarity of a Digambara monk composing a hymn addressed to a Svetambara Tirthankara.

Manuscript and Editing:

The text of the "Chikur Dwatrinshika" is presented from a manuscript copied in the 16th-17th centuries, obtained from the Bharatiya Vidya Bhavan, Mumbai. The editors acknowledge that some inaccuracies may persist due to relying on a single manuscript.

In essence, this text argues for a re-evaluation of the authorship of the "Kalyanmandirastotra," attributing it to the Digambara scholar Kumudachandra Acharya, and introduces the "Chikur Dwatrinshika" as another significant work by the same author, further solidifying his historical presence and contribution to Jain devotional literature.