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Gnatadharmkathanga Sutram Part 02

Added to library: September 1, 2025

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First page of Gnatadharmkathanga Sutram Part 02

Summary

This Jain text, "Gnatadharmkathanga Sutram Part 02," authored by Kanahaiyalalji Maharaj and published by A B Shwetambar Sthanakwasi Jain Shastroddhar Samiti, is a commentary or elaboration on the original Jain Agama Sutra, the Gnatadharmakathanaga Sutra. Based on the provided pages, the text focuses on the fifth to eighth chapters (adhyana) of the second part of this Sutra, with a particular emphasis on the fifth chapter, "Shailka" (शैलक).

Here's a comprehensive summary of the content present in the provided pages:

I. Overall Context and Presentation:

  • Commentary and Translation: The book is a detailed commentary ("Anagaradharmamritavarshini" by Jainacharya Ghasilalji Maharaj) on the Gnatadharmakathanaga Sutra, presented with both Sanskrit (original Sutra text) and Hindi/Gujarati translations and explanations.
  • Structure: The provided pages introduce the fifth chapter and then proceed with its detailed explanation, verse by verse (Sutra by Sutra).
  • Focus: The primary focus of these pages is on narrative accounts of various individuals and their life stories, highlighting Jain principles through illustrative examples.

II. Key Narrative Elements and Themes (from the provided pages):

  1. The Setting and Initial Dialogue:

    • The text begins with a question from Jambu Swami to Sudharma Swami regarding the meaning of the fifth chapter of the Gnatadharmakathanaga Sutra, following the discussion of the fourth chapter. This establishes the tradition of dialogue and teaching within Jainism.

  2. The City of Dwaraka (Dwāravati):

    • The fifth chapter commences with a detailed description of the city of Dwaraka (द्वारावती). It is depicted as a magnificent and prosperous city, nine Yojana in width and twelve Yojana in length, built by Kubera, adorned with golden ramparts and jeweled pinnacles, and resembling a heavenly abode.

  3. Mount Raivataka (रैवतक):

    • Outside Dwaraka, to the northeast, lies the Mount Raivataka (रैवतक). It is described as a tall mountain, touching the sky, covered with various types of shrubs, creepers, and trees, and inhabited by numerous birds like swans, deer, peacocks, cranes, saras, chakravakas, mynahs, and cuckoos. It is also described as a place frequented by celestial beings, Vidyadharas, and Gandharvas, and considered an eternal festive place for the Yadavas.

  4. Nandanavana Garden and Surapriya Yaksha Temple:

    • Near Mount Raivataka lies the Nandanavana (नंदनवन) garden, described as rich in flowers and fruits of all seasons, beautiful and comparable to the celestial Nandanavana. In the heart of this garden is the Surapriya (सुरप्रिय) Yaksha temple, adding to the divine ambiance.

  5. Lord Neminatha's (अरिष्टनेमि) Arrival:

    • The text mentions the arrival of Lord Neminatha (अरिष्टनेमि), the twenty-second Tirthankara, who came to Dwaraka. His physical description (ten bows in height) and divine aura are touched upon. He delivered a discourse, attracting the entire populace of Dwaraka.

  6. Krishna Vasudeva's Role:

    • Krishna Vasudeva is mentioned as the king of Dwaraka, ruling over the three continents. His vast army, comprising kings, princes, heroes, women, courtesans, and other dignitaries, is also alluded to.

  7. The Story of Sthapatya's Son (स्थापत्यापुत्र):

    • The narrative then shifts to the family of Sthapatya (स्थापत्य), a wealthy merchant. His son, Sthapatyaputra (स्थापत्यापुत्र), is described as being well-versed in arts and sciences from a young age. He gets married to thirty-two princesses and lives a life of pleasure. Later, he renounces worldly life, embraces asceticism, and eventually attains liberation (nirvana). This part of the narrative illustrates the Jain concept of renunciation and the eventual attainment of spiritual freedom.

  8. King Shaila (शैलक) and His Renunciation:

    • The text introduces King Shaila (शैलक) of Shailakpur (शैलकपुर). Upon hearing the discourse of the ascetic Sthapatyaputra, King Shaila is inspired to renounce his kingdom. He installs his son, Manduk, on the throne, and then embraces asceticism himself. This story highlights the impact of spiritual teachings and the possibility of renunciation even for kings.

  9. The Story of Shuka the Ascetic (शुक परिव्राजक) and Suvaranakar (Gold-smiths):

    • The narrative describes Shuka (शुक), a knowledgeable ascetic, who practices a form of austerity based on "shaucha" (purity). He encounters Suvaranakar (सुवर्णकार), the goldsmiths, who try to impress Suvaranakar with their skill. Shuka then explains the limitations of merely outward purity and the importance of inner purity and adherence to the right path (like the teachings of Tirthankaras), contrasting it with the futmic attempt to purify blood-stained clothes with blood itself. Suvaranakar, impressed by Shuka's wisdom, accepts Jainism. This section emphasizes the concept of inner purity (bhava shaucha) over mere external rituals.

  10. The Story of Dhanasārthavāha (धन्य सार्थवाह) and His Daughters-in-law:

    • The text delves into the life of Dhanasārthavāha (धन्य सार्थवाह) and his four daughters-in-law: Ujjhita, Bhogavati, Rakshita, and Rohini. The story illustrates the importance of righteousness and the consequences of one's actions. Ujjhita deceitfully replaces the offered grains, leading to her downfall. Bhogavati indulges in sensual pleasures, and Rakshita follows the path of righteousness. Rohini, through her devotion and right conduct, attains a high spiritual state. This narrative highlights the impact of karma and the importance of virtuous living.

  11. The Story of King Ajatshatru (अजातशत्रु) and the Painting of Malli's Feet:

    • King Ajatshatru (अजातशत्रु) of Hastinapur, after hearing about the unparalleled beauty of Malli (मल्ली) from a painter, desires to see her. The painter, after witnessing Malli's beauty, creates a lifelike painting of her foot. This illustrates the power of devotion and the ultimate attainment of the desired goal through genuine spiritual effort.

  12. The Story of King Ajatshatru (अजातशत्रु) and the Golden Puppet:

    • King Ajatshatru (अजातशत्रु), after hearing from the painter about Malli's beauty, summons the painter. The painter describes Malli's incomparable beauty, emphasizing that even celestial beings cannot replicate it. King Ajatshatru, impressed, orders the creation of a golden puppet of Malli. This story highlights the artist's skill and the king's admiration for beauty.

  13. The Story of King Ajatshatru (अजातशत्रु) and the Painter:

    • The story continues with the painter who, after creating the painting, is summoned by King Ajatshatru. The king questions the painter about the unparalleled beauty of Malli. The painter explains that while he can create a likeness, the true essence of her beauty is beyond artistic reproduction. This signifies the limitations of worldly perception when faced with transcendental qualities.

  14. The Story of King Jitashatru (जितशत्रु) and the Painter's Words:

    • King Jitashatru (जितशत्रु), hearing about Malli's beauty, summons the painter. The painter, recounting his experience, humbly admits that his painting, while skilled, cannot capture the true essence of Malli's beauty. He emphasizes that only through direct perception can one truly appreciate her divine radiance. This highlights the difference between external representation and inner realization.

  15. The Story of Chochha the Ascetic (चोक्खा परिब्राजिका) and Malli:

    • Chochha (चोक्खा), an ascetic, visits Malli (मल्ली) and speaks about the importance of purity (shaucha) in Jainism, contrasting it with external rituals. Malli, through a logical analogy of washing blood-stained clothes with blood, demonstrates the ineffectiveness of mere external purification without inner transformation. This illustrates the core Jain principle of inner purity.

  16. The Story of King Shankh (शंख) and the Broken Earring:

    • King Shankh (शंख) of Kashi hears about Malli's unparalleled beauty. He sends a messenger to King Kumbha of Mithila to seek her hand in marriage. The story unfolds with the broken state of Malli's divine earrings. The goldsmiths are unable to repair them, leading to King Kumbha's anger and their expulsion. This showcases the challenges faced in fulfilling divine wishes and the king's pride.

  17. The Story of King Rukmi (रुक्मी) and the Golden Puppet:

    • King Rukmi (रुक्मी) of Kashi, upon learning about Malli's extraordinary beauty from a messenger, orders the creation of a golden puppet of Malli. This illustrates the human desire to possess and replicate beauty, highlighting the limitations of material creations when compared to divine perfection.

  18. The Story of King Ajatshatru (अदीनशत्रु) and the Painter's Creation:

    • King Ajatshatru (अदीनशत्रु), hearing about Malli's beauty from a painter, orders a painting of her foot. The painter, recognizing the limitations of his art in capturing her true essence, humbly admits his inability. This emphasizes that true beauty and divinity transcend mortal artistic capabilities.

  19. The Story of King Ajatshatru (अदीनशत्रु) and the Painter's Fate:

    • King Ajatshatru, upon hearing the painter's confession, becomes enraged and banishes him. This highlights the consequences of failing to meet expectations, even when dealing with the divine.

  20. The Story of King Ajatshatru (अजातशत्रु) and the Painter's Dilemma:

    • The story continues with the painter who, after being banished, reflects on his situation. He realizes the limitations of his art in capturing Malli's divine essence. He decides to return to his homeland, carrying the unfinished painting with him. This story touches upon the concepts of artistic limitations and the acceptance of fate.

  21. The Story of King Ajatshatru (अजातशत्रु) and Malli's Desire for a Special Bath:

    • The narrative describes King Ajatshatru's orders for a grand bath for Malli, involving various rituals and offerings. This highlights the king's devotion and the celestial celebration surrounding Malli's life.

  22. The Story of King Ajatshatru (अजातशत्रु) and the Twenty Virtues:

    • King Ajatshatru's desire to bestow twenty virtues upon Malli is mentioned, signifying her inherent purity and the king's wish for her spiritual well-being.

III. Jain Principles Illustrated:

  • Karma: The stories implicitly or explicitly illustrate the law of karma, showing how actions (virtuous or otherwise) lead to specific consequences.
  • Renunciation (Tyaga/Vairagya): The stories of Sthapatyaputra and King Shaila highlight the importance of renouncing worldly attachments for spiritual liberation.
  • Purity (Shaucha): Shuka's encounter with Malli emphasizes the Jain emphasis on inner purity over external rituals.
  • Right Conduct (Samyak Charitra): The lives of the daughters-in-law, particularly Rakshita and Rohini, demonstrate the rewards of following righteous conduct.
  • Detachment (Nirgraha/Vairagya): The ascetics and monks depicted embody detachment from worldly desires.
  • Devotion (Bhakti): The extreme devotion of King Ajatshatru towards Malli, even through art, is a significant theme.
  • Spiritual Progress (Aatma-kalyan): The ultimate goal of achieving liberation is shown as the true path to happiness.

IV. Overall Significance:

The "Gnatadharmakathanga Sutram Part 02" serves as a valuable resource for understanding the ethical and spiritual teachings of Jainism. Through its narrative accounts, it provides practical examples of Jain principles in action, making them relatable and insightful for the reader. The detailed commentary aids in comprehending the deeper meanings and philosophical underpinnings of these ancient Jain teachings.

It's important to note that this summary is based solely on the provided pages. A complete understanding of the entire text would require access to the full document.