Girnarastha Khartarvasahi Geet

Here's a comprehensive summary of the Jain text "Girnar-stha Khartarvasahi Geet" by M.A. Dhaky, based on the provided pages:

This scholarly article, "Girnar-stha Khartarvasahi Geet" by M.A. Dhaky, delves into a historical Jain song dedicated to a temple on Mount Girnar.

The Song and Its Creator:

• The song, titled "Girnar-stha Khartarvasahi Geet" (Song of the Khartarvasahi at Girnar), is composed of sixteen verses.
• The author identifies himself as "Karanasangh" in the final verse. However, he provides no further personal details or the specific year of composition.
• Based on its content, the work is estimated to be from the late 15th or early 16th century. It's suggested that the author might have been a follower (shravaka) of the Khartaragaccha sect.

Historical Context and the Temple:

• The song was composed to commemorate the temple at Girnar that was built by Narpal Sanghvi of the Khartaragaccha sect. This construction occurred a few years before 1441 CE, likely around 1438 CE.
• This new temple replaced an older Mahavir temple that had been built by the minister Vastupal.
• Because the builder was from the Khartaragaccha, the temple became known as "Khartarvasahi" from the latter half of the 15th century.
• Interestingly, this name was later forgotten, and the temple is now known (incorrectly) as "Melvasahi." The author refers to a more detailed article he has written on this topic in the second part of the larger compilation.

Content of the Song:

• In the eighth verse, the poet mentions that Narpal built the present temple based on the words of Jinabhadra Suri.
• The song describes various features of the temple:
  • Statues in the mandap (hall).
  • The structure of Ashtapada in the bhadraprasad (a type of temple structure) on the right.
  • The corresponding Nandiśvara structure on the left.
  • The metal idol of Lord Mahavir in the main sanctum.
  • Its jewel-studded ornamentation (parikar) and the torana (ornamental archway).
• The author notes that the song itself is "thin" in its overall scope, meaning it's more descriptive than deeply philosophical or complex.
• The song is composed in a desya dhal (a type of folk meter) but lacks a highly organized structure.

Language and Regional Influence:

• The language used in the song is not entirely Old Gujarati but shows the influence of "Maru-Gurjar" (a dialect or stylistic blend of Gujarati and Rajasthani).
• The Khartaragaccha had a strong presence in Rajasthan, making it probable that the author, Karanasangh, was from that region.

Additional Details from the Verses:

• Verse 2 praises Mount Girnar and invokes Goddess Ambika.
• Verse 3 describes the temple as precious and pleasing to the eyes and heart.
• Verse 4 mentions the mandap with beautiful statues, like Indra's realm.
• Verse 5 details the temple's spires, finials, and flagstaffs.
• Verse 6 speaks of golden and jewel-encrusted elements, and the joy felt by observers.
• Verse 7 describes the Ashtapada and Nandiśvara forms, likely relating to specific sculptures or representations within the temple.
• Verse 9 mentions the ritualistic worship (ashtavidh pooja) and the spiritual upliftment it provides.
• Verse 10 describes the offering of sandalwood paste and flowers, evoking fragrances.
• Verse 11 enumerates various sacred sites and auspicious qualities, implying their significance.
• Verse 12 highlights the temple's beauty, with twelve doors in each of the four directions, and its status as a permanent abode of merit.
• Verse 13 refers to the "handicrafts" and skilled craftsmanship involved in its construction, with the architect's praise being endless.
• Verse 14 acknowledges the authenticity and superior quality of the temple's craftsmanship, stating that no other worship is comparable.
• Verse 15 mentions the joyful procession of adorned devotees.
• The final verse (16) by "Karanasangh" offers blessings for long life and prosperity to the family.

Source and Acknowledgement:

• The text is edited from the only available manuscript, cataloged as number 3122, located in the Hemchandracharya Gyanbhandar in Patan. The editor expresses gratitude to the institution for providing access to this manuscript.

In essence, this article presents a historical and linguistic analysis of a significant Jain song that illuminates the architectural details, religious significance, and patronage of a temple at Girnar, while also providing insights into the sectarian history of Jainism.