Gavdi Parshwanathadi Stotratrayam

This document is a presentation of "Gavdi Parshwanathadi Stotratrayam" (Three Stotras starting with Gavdi Parshvanath) by Upadhyay Gyanatilak, with the compilation and editing done by Vinaysagar.

Here's a breakdown of the content:

Introduction and Author's Lineage (Pages 1-2):

• The text begins by introducing Upadhyay Gyanatilak as a prominent scholar and disciple of Upadhyay Dharmavardhan (Dharmasi).
• A significant portion is dedicated to establishing Gyanatilak's guru lineage. This is presented as a genealogical tree:
  • Jinabhadra Suri
  • Padhmeru
  • Ratnalabh
  • Vijayharsh
  • Dharmavardhan
  • Gyanatilak (with other prominent figures like Merutilak, Dayakalash, Amarmanyka, Vimaltilak, Sadhusundar, Mahimsundar, Vimalkirti, Udaykirti, Vimalchand, Sadhukirti, Gnanmeru, Kirtisundar, Kanaksom, Naymeru, and Lavanyaratna also listed within this tradition).
• It highlights Upadhyay Dharmavardhan's influence on royalty in Jodhpur and Bikaner and mentions his significant works like "Shrenik Chaupai" and "Amarsena Vairsen Chaupai."
• Information about Gyanatilak's life is provided:
  • His birth name was Natha.
  • He was established as "Tilaknanadi" in Samvat 1726 in Chirakana by Jinachandrasuri.
  • His monastic name became Gyanatilak, and he was a disciple's disciple of Vijayharsh.
  • It's speculated that he was from the Rajasthan region.
• Gyanatilak's known literary works are listed:
  • Siddhant Chandrika Vritti: An unpublished commentary, with a manuscript found in the Gyan Bhandar in Bikaner.
  • Vijnapti Patra (Letter to Jinsukh Suri): Published in "Vijnapti Lekh Sangrah, Part 1" by Acharya Jinavijayji, attributed to Vijayvardhangani (believed to be Gyanatilak).
  • Another Vijnapti Patra: Unpublished, found in the Abhay Jain Granthalaya, Bikaner.
  • Several other minor works.

The Three Stotras (Pages 3-8):

The core of the document presents the three stotras, highlighting their unique characteristics:

1. Gaudiparshvanath Stotram (Page 3-4):

   • Structure: Described as "shrinkhalabaddh" (chained or in a sequence).
   • Language: Sanskrit.
   • Musicality: Composed in a "desi ragini" (local musical mode).
   • Content: The stotra praises Lord Parshvanath, referring to him with epithets like "Shaashvatlakshmivallidev" (Lord of eternal Lakshmi), "malinkalush tushharane vaata" (wind that removes impurity and sins), and "jitaraag" (one who has conquered passion). It describes him as a savior and a source of well-being. The stotra concludes with a "Sragdhara vritta" which praises those who devotedly worship Lord Parshvanath.

2. Saraswati Stotram (Page 4-6):

   • Structure: A blend of different metrical forms:
     • Stanzas 1-5: Matrika Soratha chhanda (a rhythmic meter).
     • Stanzas 6-14: Tribhangi chhanda (a specific meter characterized by seven four-beat units with a forbidden "jagana" at the end).
     • Stanza 15: Shatpadi chhanda (a six-line meter).
   • Content: This stotra is an invocation to Goddess Saraswati, the goddess of knowledge and speech. It seeks her blessings for wisdom, eloquence, and the removal of ignorance and suffering. It mentions her association with poets like Kalidasa and praises her divine attributes. The stotra emphasizes her power to grant knowledge and remove obstacles.

3. Dada Jinkushalsuriji Chhandah (Page 6-8):

   • Structure:
     • Initial 5 stanzas: Arya chhanda.
     • Stanzas 6-13: Tribhangi chhanda.
     • Stanza 14: Kavitva (a poetic form).
   • Content: This is a eulogy in praise of Dada Jinkushalsuri ji, a significant figure in the Jain tradition. The stotra highlights his spiritual eminence, his ability to provide solace to souls, his virtuous qualities, and his role as a guide. It describes him as a source of immense spiritual merit and a protector from suffering. The stotra also mentions the tradition of composing in local meters, which is seen as a sign of respect for popular culture.

Concluding Remarks (Page 8):

• The editor, Vinaysagar, presents these three stotras to scholars.
• He notes that the stotras display the author's erudition and unique style.
• He mentions that the Tribhangi chhanda used in the praise of Dada Jinkushalsuri ji has been replicated from previous works.
• He acknowledges the practice of Sanskrit poets incorporating local meters, considering it a sign of respect.

Critical Note (Page 8):

• A note at the very end (signed "Shee") expresses that the compositions appear to have many errors. The critic wishes that the editor had made more effort to cross-reference with other manuscripts for accurate readings to enhance the enjoyment of the text.

In essence, "Gavdi Parshwanathadi Stotratrayam" is a scholarly presentation of three devotional hymns composed by Upadhyay Gyanatilak. The document provides context about the author, his lineage, and his other works, while also detailing the metrical structures and devotional content of the three stotras dedicated to Lord Parshvanath, Goddess Saraswati, and the revered Jain guru Jinkushalsuri. The inclusion of a critical note adds a layer of academic assessment.