Dhanharshshishya Krut Vignaptika Lekh - Book Summary

Here's a comprehensive summary of the Jain text "Dhanharshshishya krut Vignaptika lekh" by Shilchandrasuri, based on the provided pages:

Introduction and Context:

The text is an incomplete "Vignapti-lekh" (a type of formal petition or letter) written by a disciple of Dhanharsh. It belongs to a rich tradition of such writings in the Jain monastic tradition during the medieval period, which often served as valuable sources of historical information and poetic expressions.

These "Vignapti-lekhs" were typically written for three main purposes:

Seeking forgiveness (Kshamaapana) from the head of the monastic order (Gachchha Nayak) after the Paryushana festival.
Requesting the Gachchha Nayak to visit a particular region or to send a mendicant for the Chaturmas (a four-month retreat).
As an expression of devotion from disciples to their gurus.

While many such texts exist, they are often preserved in various archives, awaiting research and study. This particular "Vignapti-lekh" is presented as an unpublished example, found in manuscript form rather than a scroll, and is unfortunately incomplete.

The Author and the Recipient:

The author identifies himself only as a "disciple of Dhanharsh" (Dhanharshshishya), not revealing his personal name.
The recipient of the letter is also not explicitly named but is referred to respectfully as "Tatpad" (तातपाद) or "Tat" (तात), meaning "father's feet" or "father," a common term of endearment for a spiritual preceptor.
Specific references like "Tapagachchhapate!" (तपागच्छपते!) and "Chandraganadhip" (चन्द्रगणाधिप) suggest the recipient was a prominent figure of the Chandragana lineage and the Tapagachchha (a major Jain sect).
The use of the adjective "Kamajanmanah" (कमाजन्मनः) for the guru strongly indicates that the letter was addressed to Vijayansen Suri, who was the son of Seth Kamashah.

Dating the Text:

While no explicit date is given, the text is believed to have been written after the demise of Shri Hiravijaysuri (post-1652), as the term "Tatpad" would be unlikely to be used for Vijayansen Suri during Hiravijaysuri's lifetime. The disciples likely continued this practice for Vijayansen Suri even after his guru's passing.
The text also appears to have been written during the reign of Emperor Jahangir. This is supported by a verse mentioning the receipt of a 12-day "Amari-patt" (अमारि-पट्ट), an edict of non-violence or a period of abstention from harm. The history behind this edict is explained: after Akbar's death, during Jahangir's rule, there were lapses in the "Amari-ghoshana" (declaration of non-violence) established by Akbar. Vijayansen Suri had to re-establish this and obtain a 12-day "Amari-patt." The verse likely refers to this event.
It is noted that an eye-witness account and painting of this event during Jahangir's reign by the court painter Ustad Shahlivah exists and is currently in Ahmedabad. If Vivek Harsh Gani, who collected documents related to these farman (edicts), was associated with this "Vignapti-lekh," it would be fitting.

Location and Content:

The author was in Ahmedabad for Chaturmas at the time of writing.
The Gachchha Nayak was in Patan.
The text begins with 18 verses of mangalacharan (auspicious invocation), specifically praising Lord Shantinath. Notably, the first eight verses start with the word "Swasti."
Verse 19 describes Gurjar Desh (Gujarat), mentioning it was administered by Akbar ("Akbaro yam prashasti"). However, the compiler clarifies that this interpretation might be due to the poet's stylistic choice or habit of expressing positive sentiments towards Akbar, as it conflicts with the earlier reference to the 12-day "Amari-patt" which occurred after Akbar's reign.
The next 64 verses describe the city of Patan with details on:
- Walls (Vapra - वप्र) (verses 20-23)
- Moat (Parikha - परिखा) (verses 24-33)
- Saraswati River (verses 34-39)
- Cows (Go - गो) (verses 40-46)
- Buffaloes (Mahishi - महिषी) (verses 47-51)
- Lay followers (Shraddha - श्राद्ध) (verses 52-56)
- Lay female followers (Shraddha - श्राविका) (verses 57-63)
- Jain Temples (Jinmandir - जिनमन्दिर) (verses 64-68)
- Monastic dwelling places (Upashray - उपाश्रय) (verses 69-83)

Details from the Descriptions:

Patan's Description: The walls are described as strong and adorned. The moat is filled with water and lotuses. The Saraswati River is depicted as being so pure that it's as if Saraswati herself resides there, making the inhabitants wise and poetic.
Cows and Buffaloes: The cows are depicted with ample udders, and the buffaloes are described as dark-skinned, producing milk and ghee, with sharp horns.
Lay Followers (Shraddha): Both male and female lay followers are described as virtuous, adorned, wealthy, and devoted to listening to the teachings of the Jin (Jain Tirthankaras) and their gurus. They are characterized by their adherence to vows, ascetic practices, and generosity.
Jain Temples: The temples are described as magnificent, adorned with jewels and gold, and housing the statues of the Jinas. They are compared to celestial abodes.
Monastic Dwellings (Upashray): These are described as whitewashed, with paintings of elephants on the walls, fragrant with incense, and adorned with pearl-studded canopies. The text highlights the educational activities within the Upashrays, with Acharyas teaching readers, readers teaching scholars, and scholars teaching disciples. They are engaged in studying and teaching various subjects like grammar, lexicography, logic, and Jain Agamas.

Further Content and Specific Details:

Ahmedabad: Mentioned in verse 84, it was established by King Ahmed.
Author's Religious Practice: The author states he is reciting a commentary by Shri Ravi Prabhacharya on the "Shilbhavana" (शीलभावना) text composed by Shri Manatungacharya. This prompts a suggestion for further research into the identity of Manatungacharya and the specific text.
Monastic Activities: Verse 100 mentions that ascetics and ascetic women are engaged in study and yogic practices.
Festivals and Observances: The text references the annual Paryushana festival, the reading of the Kalpa Sutra, the 12-day "Amari-patt," and the observance of vows like 30, 15, 10, and 8 fasts. It also mentions the practice of 64 "Snatra" (a type of ritual bath) and various forms of worship.
Generosity: Verses 111-114 highlight the generosity of lay followers in donating to beggars, supporting fellow religious practitioners, performing temple rituals, and the overall prosperity attributed to the blessings of "Tatpad" and Emperor Akbar.
Guru's Description: Verses 115-147 are dedicated to a detailed description of the Guru, praising his physical appearance, wisdom, and eloquence. The description is rich in poetic imagery, comparing his face to lotuses, the moon, and other beautiful natural elements.
Devotion and Humility: The author expresses his deep devotion and eagerness to write the "Vignapti" to "Tatpad," along with a list of devout lay followers from Ahmedabad.
Comparing Virtues: The verses often compare the Guru's virtues and physical attributes to natural phenomena and celestial bodies, emphasizing his unparalleled greatness.
The "Kamajanmanah" Reference: The crucial verse 127 where the Guru is described as "Kamajanmanah" is discussed, emphasizing its significance in identifying the recipient. This verse, a dialogue between the author and a friend, discusses who is capable of competing with the Guru's radiant face, ultimately concluding it's the Guru's mother.
Praise for Lay Followers: Verses 149-162 list numerous lay followers (Shraddhas) from Ahmedabad and Patan, detailing their family names and professions. The list includes names like Abdike, Bhanji, Rahul, Vachhraj, Tejpal, Vastupal, and many others, indicating a flourishing lay community.
Incomplete Nature: The manuscript ends abruptly after listing the names of the lay followers, suggesting it is incomplete.

Concluding Remarks:

The editor notes that the manuscript, which forms the basis of this publication, is from the Shri Vijaynemisuri Gyanashala Bhandar in Khambhat. It is titled "Pattannagarvarnan" (Description of Patan City) in their catalog and is affected by insect damage.

The editor also clarifies that this is a "Vignapti-lekh" and not a philosophical treatise ("lekh") because it lacks any element of seeking forgiveness.

Finally, the text is appreciated for its diverse metrical patterns and the author's imaginative poetic ability, which establish him as a skilled poet. The initial verses (1-18) are a detailed description of Lord Shantinath. The subsequent sections beautifully describe the city of Patan and the virtues of its inhabitants and the spiritual leaders.