Gyan Bhandaro Par Ek Drushtipat - Book Summary

Here's a comprehensive summary of the Jain text "Gyan Bhandaro Par Ek Drushtipat" (A Glimpse at Knowledge Repositories) by Muni Shri Punyavijayaji, based on the provided pages:

The author, Muni Shri Punyavijayaji, emphasizes that just as libraries are essential modern institutions for knowledge, "Bhandaras" (repositories) held a similar crucial place in earlier times, according to the customs of those eras. These Bhandaras were collections of scriptures, akin to repositories of wealth, grains, and clothing, and were primarily maintained by religious and scholarly ascetics or learned individuals. This practice was not confined to any single country, religion, or tradition, as evidenced by the collection of sacred texts by Iranian Aryans, Christians, and Muslims, much like the Indian Aryans.

The history of Bhandaras is intertwined with various aspects of writing, including scripts, the art of writing, writing materials, and the profession of scribes. The author, drawing upon his forty years of direct experience, aims to briefly outline his findings.

Two Main Types of Bhandaras in India:

Individually Owned: In the Vedic tradition, book collections were primarily associated with the Brahmin class, who were householders and permitted to have families. Consequently, their collections were largely personal property.
Collectively Owned: In contrast, monastic traditions like Buddhism and Jainism, with their principles of non-possession (aparigraha), had collections that were collectively owned by the sangha (community). Even if a particular acharya or scholar had prominence, the knowledge repository within their care was considered the property of the sangha.

Buddhism and Jainism:

While many Buddhist monastic centers (viharas) no longer exist in India, their collections of scriptures were transported to neighboring countries like Nepal, Tibet, China, Ceylon, and Burma, where they are still accessible.
Jain monks did not extensively travel outside India, so their scriptural collections remain primarily within India. Jain Bhandaras can be found in almost every part of India, from the southern states of Karnataka, Andhra, and Tamil Nadu to the northern regions of Punjab and Uttar Pradesh, and from eastern Bengal and Bihar to western Kutch and Saurashtra. These Bhandaras were originally established with the concept of collective ownership, benefiting from the support of the entire sangha, leading to their growth and preservation.

Historical Examples:

During times of unrest in places like Patan and Khambhat, valuable scriptural assets were transferred to safer, remote locations like Jaisalmer. Conversely, collections in regions not prone to such disturbances, like the Digambar Bhandaras of Karnataka, remained in place.

The Author's Focus and Scope:

While the author respects and has a connection with Vedic and Buddhist texts, his work primarily focuses on Jain Bhandaras due to his extensive experience with them.
He estimates that Jain scriptural collections can be found in at least five hundred cities, towns, and villages across India. Some cities house numerous Bhandaras (e.g., over twenty in Patan, ten to fifteen in Ahmedabad, Surat, and Bikaner).
The size and significance of these Bhandaras vary greatly, with some containing up to 25,000 texts and others only a few hundred. Their importance is judged by factors like the volume of texts, subject diversity, antiquity, the presence of non-Jain Buddhist and Vedic scriptures, unique or unobtainable texts, linguistic variety (Sanskrit, Prakrit, Apabhramsha, old Gujarati, Rajasthani, Hindi, Persian), and the presence of old palm-leaf manuscripts and rich illustrations.

Materials and Time Periods:

The author has directly worked in and visited Bhandaras in Saurashtra, Gujarat, and Rajasthan. He asserts that immense material is available for those interested in the revision and study of ancient and medieval scriptures from Vedic, Buddhist, and Jain traditions.
He categorizes the manuscripts he has seen into three types: palm-leaf, paper, and cloth.
- Palm-leaf manuscripts range from the 9th to the 16th century CE (Vikram era).
- Paper manuscripts in Jain Bhandaras date from the early 13th century CE (Vikram era) to the present.
While some paper manuscripts found in Kugiyar (near Yarkand) are dated to the 5th century CE, no paper or palm-leaf manuscripts of that age have been found in Jain Bhandaras. This suggests a continuous process of copying older texts onto new material as they aged.
The author has personally seen approximately 3,000 palm-leaf manuscripts and over 200,000 paper manuscripts, noting that the total number across all Jain traditions and Bhandaras would be much higher, possibly exceeding 10-15 lakhs (1-1.5 million).

Classification of Bhandaras (Broadly):

Based on Antiquity, Illustrations, and Revised/Pure Agamic/Logical/Philosophical Literature (including Vedic and Buddhist): Patan, Khambhat, and Jaisalmer's palm-leaf collections are ranked first.
- Jaisalmer's Kharatara-acharya Shri Jinbhadra Suri Bhandar: This collection is particularly noteworthy for its antiquity, numerous ancient illustrations, and agamic texts that are often revised and pure. It also houses important Vedic texts like the Sankhyakarika with Gaudapada's commentary, Vyasa's commentary on Yoga Sutras with Tattvavaisharadi, Shankara's commentary on the Gita, and Khandanakhandakhadya. It also contains works on Vaisheshika and Nyaya Darshanas with commentaries, including Udayanacharya's work, and key Buddhist argumentative texts like Nyayabindu and Tattvasangraha. Significantly, it contains unpublished 12th-century Apabhramsha language narrative texts like Vilasavai Katha and Arithanemicariu.
- Khambhat's Shri Shantinath Palm-leaf Bhandar: Notable for its illustrations and a manuscript of the Dharmabhudaya Mahakavya, handwritten by the renowned minister and scholar Vastupal.
- Patan's Three Palm-leaf Collections: These contain significant works, including Dharmakirti's Hetubindu with Archata's commentary (not found elsewhere in Sanskrit) and Jayarashi's Tattvopaplav (also unique).
Paper Manuscripts: The author highlights a few key paper manuscript Bhandaras:
- Patan Tapa Gacch Bhandar: Rich in Gujarati, Rajasthani, Hindi, and Persian texts, including the rare play 'Agamdambar.'
- Patan Bhaba ke Pade ka Bhandar: Contains Dharmakirti's 'Pramanavartika' with its own commentary, reportedly not found even in Tibet.
- Khambhat Jain Shala Bhandar: Houses the oldest known paper manuscript in Jain Bhandaras, a 'Kathakosh' written in VS 1234 (1177 CE), still in good condition. It also contains works by Upadhyay Shri Yashovijayaji.
- Jaisalmer Paper Bhandar: Contains a complete and pure collection of Nyaya and Vaisheshika Darshana texts (sutras, commentaries, and sub-commentaries) written in VS 1279 (1222 CE).
- Ahmedabad Bhandars:
  - Pagathiya ke Upashraya: Contains works by Upadhyay Shri Yashovijayaji.
  - Devsha ke Pade ka Collection: Includes works by Bhanuchandra and Siddhichandra, honored scholars by Emperor Jahangir.
Cloth Manuscripts: Only one manuscript written on cloth in a leaf-like format has been found, from the Shri Sangh Bhandar in Patan.

Illustrations and Binding:

Hundreds of colorful and diverse illustrations, some made with gold and silver ink, are found on both palm-leaf and paper manuscripts.
Illustrated documents, such as Vijnaptipatras (declarations), pictorial representations of journeys, and diagrams (Yantrapat, Vidyapat), are also abundant on paper and cloth.
Protective boards (Pathe/Pudhe) for manuscripts and decorative boxes (Dibbe) are also found, often decorated with stamps and colorful designs similar to modern bookbindings.

Writing Materials and Techniques:

Palm-leaf and Paper: High-quality palm-leaves were sourced from places like Malabar, and good quality paper from Kashmir and South India. Gujarat, particularly Ahmedabad, Khambhat, and Surat, produced strong and fine paper, with Surat's paper being specifically mentioned for its suitability for writing scriptures.
Types of Paper: Various types of paper existed, differing in thickness, texture, and finish, some as thick as modern cardstock and others finer than butter paper. Some papers, even after 400-500 years, remain unfaded.
Ink: Special inks were made for writing. The quality of ink on palm-leaf manuscripts declined after the 15th century CE, though some later palm-leaf manuscripts still show good ink. Ink for paper manuscripts is noted for its longevity and ability not to damage the text.
Colors: A variety of colors, derived from minerals and plants, were used for illustrations, prepared with great care to prevent damage to the manuscript or fading of the colors.
Pens (Lekhni): Reed pens were fashioned from reeds and bamboo. Specific types of reeds, particularly black ones or strong yellow ones like cinnamon bark, were preferred for their suitability for sustained and orderly writing. Ancient texts discuss the making and cutting of pens.
Inkwells (Mashibhajana/Davat): Various inkwells made of glass, polished clay, and metal existed. Metal inkwells made of brass were likely preferred due to their durability.
Ruling Instruments (Olia/Phantia): To ensure straight lines, a ruling instrument called 'Olia' or 'Phantia' was used. This involved making parallel holes in a card or thin wooden strip and threading a string through them, applying adhesive to keep the string in place. A finger would then be run along the string to create a faint line. This method is still used by some scribes.
Drawing Instruments (Jujval/Prakar): For drawing straight lines and circles, instruments like 'Jujval' (pliers-like) and 'Prakar' (compass) were used, designed to hold ink.

Scripts (Lipi):

While some scholars refer to a "Jain script," the author argues that scripts evolve over time and due to regional influences. Jain scripts are variations of a common root, differentiated by regional and sectarian writing styles.
He notes that the Devanagari script has also diversified into various forms.
The script used in Jain manuscripts shows variations in character formation and style depending on the scribe, region, and time period.
The use of "prishthamatra-padmatra" and "agratra" in scripts until the end of the 17th century CE is mentioned, which later evolved into "urdhvamara" and "adhomatra" respectively, leading to more concise and smaller script forms.

Scribes (Lekhak/Lahiya):

Scribes were of various castes, including Kayasthas and Brahmins, and their profession was often hereditary.
They possessed a deep understanding of ancient scripts and their proper execution.
Scribes had unique customs and beliefs regarding their craft, such as not interrupting their writing mid-sentence for fear of misfortune.
There were instances of professional jealousy, with some scribes attempting to sabotage others' work.
Scribes had specific preferences for how they set up their writing materials and guarded their tools.
Besides professional scribes, Jain monks, nuns, and lay followers also wrote scriptures with beautiful calligraphy.

Types of Books:

In ancient times (around 5th century CE onwards), books were named based on their physical form (e.g., Gandipustak, Mushtipustak, Samputaphalak, Chhedpati).
From the 15th century CE onwards, books were also categorized based on their writing style, such as Shudha/Shudha Pustak, Dwipath Pustak, Panchpath Pustak, and Sastabak Pustak.
ChitraPustak (Picture Books): This term refers to books where decorative elements or imagery are integrated within the writing style.
- Riktalipi Chitrapustak: Empty spaces are intentionally left between writings to create shapes, symbols, or text.
- LipichitraPustak: Specific letters are written in a different color (e.g., red) amidst black ink writing to form images or convey meanings.
- AnksthanChitrapustak: Page numbers are represented by images of animals, trees, temples, etc.

Manuscript Correction and Symbols:

Correction Tools: In addition to pens, tools like Haritala (yellow arsenic) and Safeda (white lead) were used to erase or modify incorrect letters. Red color and thread were used for marking specific sections or topics. In the palm-leaf era, excess letters were erased with water or marked with a mirrored "9" shape.
Brushes (Tulika), Grinding Stones (Batta), Thread: Brushes were made from squirrel hair. Grinding stones (Batta) were made from stones like akik. Threads were used to mark sections in palm-leaf manuscripts for easy navigation.
Correction Marks and Symbols: Ancient scholars used various symbols to indicate corrections, omissions, alternative readings, annotations, and relationships between words. The author has devised names for these symbols based on their function.

Manuscript Preservation:

Wooden Slats (Kambika): Two types of wooden slats were used: flat ones to protect pages from finger sweat and dirt, and those with grooves for drawing lines.
Protective Materials: Covers (Kavali), boards (Pathe/Pudhe), cloth wraps (Vastravestan), and boxes (Dibbe) were used to protect manuscripts from damage, moisture, and pests. These were often decorated with paintings.
Ideal Repository: The author highlights the underground vault in the Jaisalmer fort's temple as an exemplary, well-preserved, and secure location for a Bhandara, which has remained protected from pests and environmental changes for six hundred years. The builders' use of chemical substances in its construction remains a mystery.
Storage: Manuscripts were stored in wooden or stone chests (Majusa) or almirahs. Chests were favored for their strength and portability during times of upheaval. The Jaisalmer repository, while having these ancient storage methods, has since been updated with steel almirahs.

Gyan Panchami – A Festival for Knowledge:

Gyan Panchami (Kartik Shukla Panchami): This festival was established to address the need for the periodic handling and airing of manuscripts to prevent decay caused by seasonal changes. It was intended to involve collective effort for the preservation of knowledge.
However, the original purpose has been overshadowed by external rituals and ostentatious displays due to human complacency and laziness.

Content of the Bhandaras:

These Bhandaras are significant not only for Jain scriptures but also contain a wide range of texts from Jain, non-Jain (Vedic, Buddhist) traditions.
They encompass works on grammar, lexicons, prosody, rhetoric, mantras, tantras, rituals, drama, astrology, physiognomy, Ayurveda, philosophy, and biographical texts (charitra-granths), rasas, and other literary forms in Sanskrit, Prakrit, Apabhramsha, Gujarati, Hindi, and Marathi.
The true importance of these Bhandaras lies in their broad and comprehensive collection strategy.
They contain various forms of manuscripts, including beautiful and artistic illustrated and non-illustrated palm-leaf, paper, and cloth manuscripts written in black, red, gold, and silver inks. They also hold illustrated documents, travel depictions, and diagrams.
The Jain community invested significant effort and resources in establishing and preserving these Bhandaras.

The author concludes by expressing his earnest desire that scholars will properly utilize and benefit from the vast and diverse collection of these precious "jewels of knowledge."