Gyan Bhandaro Par Ek Drushtipat - Book Summary

Here's a comprehensive summary of the Jain text "Gyan bhandaro par Ek Drushtipat" (A Glimpse at Libraries of Knowledge) by Punyavijay, based on the provided pages:

The book "Gyan bhandaro par Ek Drushtipat" by Muni Punyavijay, presented at a literature exhibition in Ahmedabad on October 30, 1953, offers a detailed look at Jain libraries (Gyan Bhandars) and their contents. The author, drawing from his forty years of direct experience, aims to provide insight into these repositories of knowledge, which served a similar purpose to modern libraries in earlier times.

The Exhibition and its Purpose:

The exhibition is structured into various sections to cater to a diverse audience, from the general public to scholars. The author emphasizes that the true spirit of the exhibition lies in appreciating the literature and art associated with it. He encourages visitors to view the displays with a keen eye for inspiration.

Key Sections and Contents of the Exhibition (as per the Table):

The exhibition showcases a vast array of materials, categorized as follows:

Literary Works: Including grammar, dictionaries, prosody, rhetoric, poetry, drama, philosophy, history, ancient Gujarati-Hindi literature, astrology, medicine, Persian literature, and books written in Gurmukhi.
Commentaries on Non-Jain Works: Works by Jain scholars that comment on texts written by non-Jain scholars.
Works by Digambara Acharyas: Texts authored by Digambara Jain monks.
Collections by a Single Individual: Compilations of texts commissioned by one person.
Thematically Arranged Texts: Books organized according to their subject matter.
Author-Autographed or Verified Copies: Manuscripts written, corrected, or commissioned by the authors themselves.
Revised Manuscripts: Copies indicating significant changes made after the original composition.
Signatures of Eminent Personalities: Autographs of significant figures.
Palm-Leaf Manuscripts by Laymen and Laywomen: Texts written by male and female Jain householders.
Corrected and Annotated Texts: Manuscripts that have been reviewed and have explanatory notes.
Manuscripts Indicating Ink Maturity and Uniform Script: Materials suggesting a consistent writing style and quality of ink.
Types of Writing Styles: Including Tripath, Panchpath, and Sastabak.
Scripts from Different Centuries: Variations in writing styles across various historical periods.
Palm-Leaf Numerals: The numerical system used on palm-leaf manuscripts.
Types of Ancient Indian Paper: Different varieties of paper used in ancient India.
Manuscript Collections for Political History: Compilations relevant to the study of political history.
Illustrated Kalpasutra and Similar Texts: Works illuminated with gold and silver ink.
Illustrated Palm-Leaf and Paper Manuscripts: Manuscripts featuring illustrations on both palm-leaf and paper.
Visually Rich Manuscripts: Including those with decorative writing, pictorial scripts, numerical illustrations, and poetic narratives.
Commemorative Scrolls and Boards: Exhibiting religious and auspicious announcements.
Various Games and Playing Cards: Indicating the cultural aspects associated with knowledge repositories.
Restoration of Damaged Manuscripts: Demonstrating the art of preserving fragile texts.
Samples of Palm-Leaf and Paper: Materials used for writing.
Writing Materials: Ink-pots, quills, brushes, ink, pigments like Harital, etc.
Illustrated Boxes and Book Covers: Decorative containers and bindings for manuscripts.

The Author's Observations on Gyan Bhandars:

The author draws a parallel between modern libraries and ancient Gyan Bhandars, highlighting their importance in preserving knowledge according to the norms of their respective eras. He notes that the practice of collecting scriptures was not limited to any single country, religion, or tradition.

Types of Bhandars in India:

Personal Ownership: Common in the Vedic tradition, where Brahmins, being householders, maintained personal collections.
Communal Ownership: Prevalent in monastic traditions like Buddhism and Jainism. Even if a particular monk or scholar held prominence, the knowledge collected under their patronage was considered communal property of the Sangha (community).

Jain Bhandars:

Geographical Distribution: Jain manuscript collections are found throughout India, from the southern regions of Karnataka and Andhra to the northern Punjab and Uttar Pradesh, and from eastern Bengal and Bihar to western Kutch and Saurashtra.
Communal Ownership Advantage: Communal ownership ensured that the entire Sangha contributed to the growth and preservation of these Bhandars, leading to significant accumulation and effective protection of scriptures.
Preservation through Transfer: During times of upheaval, valuable scriptures were transferred to safer locations, as seen with the relocation of texts from places like Patan and Khambhat to Jaisalmer.

Scale and Significance of Jain Bhandars:

Number of Locations and Bhandars: The author estimates at least 500 cities and villages containing Jain manuscript collections. Some cities have as many as 15-20 Bhandars, with the number of manuscripts ranging from a few hundred to tens of thousands.
Criteria for Importance: The significance of a Bhandar is judged by various factors: the sheer volume of texts, the diversity of subjects, the antiquity of the manuscripts, the presence of rare or unique works (especially those not found elsewhere), the variety of languages (Sanskrit, Prakrit, Apabhramsha, Gujarati, Hindi, Persian), and the richness of illustrations.
Author's Personal Experience: The author has personally visited and worked in numerous Bhandars across Gujarat, Rajasthan, and Saurashtra, indicating the vast amount of material available for scholars.

Classification of Bhandars:

The author proposes a classification based on:

Antiquity and Illustrative Richness: Palm-leaf collections from Patan, Khambhat, and Jaisalmer, particularly Jaisalmer's Khartar-acharya Anjinbhadra Suri Bhandar, are highlighted for their ancient scripts, languages, and illustrations. These also contain important Vedic and Buddhist texts.
Paper Manuscripts: Specific important paper manuscript collections in Patan (Tapa Gachchha Bhandar, Bhama ke Pade ka Bhandar) and Khambhat (Jain Shala Bhandar) are mentioned for their rare works, including Dharmakirti's commentary on Pramanavartika and the oldest known paper manuscript (Jineshwar's Kathakosh from V.S. 1234). Ahmedabad's Bhandars are also noted for housing works by scholars like Upadhyay Yashovijayji and Bhanuchandra.
Cloth Manuscripts: Only one manuscript written on cloth in a letter format has been found, from the Shri Sangh Bhandar in Patan.

Writing Materials and Techniques:

Mediums: Manuscripts are found on palm-leaf, paper, and cloth. Palm-leaf manuscripts date from the 9th to the 16th century CE, while paper manuscripts extend from the 13th century to the present.
Palm-Leaf Sources: Palm leaves were sourced from places like Malabar.
Paper Sources: High-quality paper was procured from Kashmir and southern regions, with local production in Gujarat (Ahmedabad, Khambhat, Surat).
Ink: Special inks were used, and the quality of ink on palm-leaf manuscripts from the first half of the 15th century is noted as superior to that of the latter half. Paper manuscripts generally retained their ink quality.
Colors: A variety of mineral and plant-based colors were used for illustrations.
Pens/Quills: Special reeds and strong stalks were preferred for writing. Ancient texts also provide guidance on pen making and cutting.
Ink-pots (Mashi Bhajan): Various materials like glass, clay, and metal were used for ink-pots. Metal pots were likely preferred for durability.
Ruling Lines: Tools like 'Olia' or 'Fantia' (made of thin boards with parallel holes and thread) were used to draw straight lines on manuscripts, especially paper manuscripts.
Drawing Tools: 'Jujval' (a pincer-like tool) and 'Prakar' (compass) were used for drawing lines and circles, respectively.

Scripts and Scribes:

Jain Script: While scholars sometimes refer to a distinct "Jain script," the author argues that script variations arise from differing writing styles, regional influences, and interactions with other scripts. He suggests that understanding the evolution of scripts like Brahmi is key. The "Jain script" itself is further divided based on regional and sect-specific styles.
Scribes (Lahiya): Writers, often from Kayastha and Brahmin communities, meticulously preserved script forms and aesthetics. They had their own customs and superstitions, including ways to ensure the longevity of their work and protect their trade from rivals.
Authorship: Besides professional scribes, Jain monks, nuns, laymen, and laywomen also contributed to writing manuscripts. While male authors are more numerous, rare examples of manuscripts written by nuns and laywomen are noted.

Types of Books:

Early Classifications: Based on physical form (Gandi-pustak, Mushti-pustak, etc.).
Later Classifications: Based on writing styles, such as Shood, Dwipath, Panchpath, and Sastabak.
Illustrated Books: This category includes:
- Riktalipi Chitrapustak (Empty Script Illustrated Books): Where blank spaces are intentionally left to form shapes, symbols, or names.
- Lipichitrapustak (Script-Illustrated Books): Where specific letters are highlighted with different colored ink to create images or convey meanings.
- Anksthan Chitrapustak (Numeral-Place Illustrated Books): Where numbers are depicted within pictorial representations of animals, trees, or temples.

Manuscript Revision and Preservation:

Tools for Correction: Harital (yellow orpiment), Safeda (white lead), red color, and threads were used for corrections, erasing, and marking specific sections.
Correction Marks: A system of specialized marks and symbols was employed by ancient scholars to indicate corrections, omissions, alternative readings, and annotations. The author has devised names for these symbols based on their intended purpose.
Preservation Aids: Kambil (wooden strips), Kavali (cloth-covered mats), Pads (book covers), cloth wrappings, and boxes were used to protect manuscripts from moisture, damage, and insects.
Secure Locations: The author highlights the importance of secure and hidden locations for storing manuscripts, citing the example of the Jaisalmer fort's underground chambers, which have preserved texts for centuries due to their construction and perhaps chemical treatments.
Storage Furniture: Wooden and stone 'Majusa' (chests) and almirahs were used for storage. Majusas, with wheels, were favored for their portability during times of unrest.

Gyan Panchami:

The author explains that Gyan Panchami (Kartik Shukla Panchami) was a festival dedicated to the preservation and management of manuscripts. The ritual of turning and reorganizing the scriptures helped prevent damage from seasonal elements and ensured their longevity.

Overall Significance of Gyan Bhandars:

Rich and Diverse Content: These Bhandars are not limited to Jain scriptures but contain a vast collection of literature in various languages and on diverse subjects, including secular sciences and arts.
Dedication and Wealth: The Jain community invested considerable effort and wealth in establishing and maintaining these repositories of knowledge.
Call for Utilization: The author concludes by expressing his earnest hope that scholars will make proper use of the vast and diverse treasures found within these Gyan Bhandars.

In essence, "Gyan bhandaro par Ek Drushtipat" is a scholarly and detailed account of the historical Jain libraries, their contents, the materials and methods used in manuscript creation and preservation, and the cultural significance attached to them. It serves as a testament to the rich literary heritage preserved by the Jain tradition.