Gyanbhandaro Par Ek Drushtipat - Book Summary

Here's a comprehensive summary in English of the Jain text "Gyanbhandaro par Ek Drushtipat" (A Glimpse at Knowledge Repositories) by Muni Punyavijayji:

This text is a speech delivered by Muni Punyavijayji on October 30, 1953, at a literature exhibition organized by Gujarat Vidyasabha, Ahmedabad, in the context of the 17th session of the All India Oriental Conference. The speech focuses on Jain "Gyanbhandaros" (knowledge repositories or libraries), providing a detailed overview of their content, organization, and the materials used in their creation and preservation.

Purpose of the Exhibition and the Speech:

The exhibition is designed for both the general public and scholars, with different sections catering to their interests.
The true spirit of the exhibition lies in its scientific and artistic value concerning literature.
Muni Punyavijayji aims to share his forty years of direct experience with these repositories.

Key Aspects of the Exhibition's Organization:

The exhibition is structured into various departments to showcase the diverse materials within Jain knowledge repositories. These include:

Literary Works: Covering grammar, dictionaries, prosody, rhetoric, poetry, drama, philosophy, history, ancient Gujarati and Hindi literature, astrology, medicine, Persian literature, and books written in Gurmukhi.
Commentaries: Works by Jain scholars on texts written by non-Jain scholars.
Works by Digambar Acharyas: Texts authored by Digambar Jain monks.
Collections by a Single Author: Accumulations of works written by one individual.
Thematic Arrangements: Books organized according to their subject matter.
Autographs and Revised Copies: Manuscripts written, corrected, or commissioned by the authors themselves.
Indications of Changes: Manuscripts that show significant alterations made after the original composition.
Signatures of Eminent Personalities: Autographs of notable individuals.
Palm-leaf Manuscripts by Lay Disciples: Works written by male and female lay followers (Shravaks and Shravikas).
Annotated and Corrected Texts: Books that have undergone review and commentary.
Indications of Ink and Handwriting: Materials showcasing the quality of ink and consistency of handwriting.
Writing Styles: Different methods of writing, such as Tripath, Panchpath, and Sastabak.
Scripts of Different Centuries: Various scripts used over centuries.
Palm-leaf Numerals: A display of numerical systems used on palm-leaf manuscripts.
Types of Ancient Indian Paper: Different varieties of paper used in ancient India.
Compilation for Political History: Manuscripts relevant to the historical record.
Illustrated Kalpasutra: Works written in gold and silver ink with illustrations.
Illustrated Palm-leaf and Paper Manuscripts: Manuscripts featuring pictures on both materials.
Artistic Illustrations: Various types of artistic compositions within manuscripts, including pictorial calligraphy and decorative elements.
Certificates and Educational Boards: Display of educational documents and charts.
Games and Playing Cards: Various types of games and cards.
Restoration of Old Manuscripts: Exhibits demonstrating the art of preserving and repairing decayed manuscripts.
Samples of Palm-leaf and Paper: Examples of the materials themselves.
Writing Implements: Inkwells, pens, brushes (peechi), tools for preparing materials, ink, and pigments.
Decorative Boxes and Boards: Various types of beautifully adorned boxes and reading boards.

Specific Highlights:

Manuscripts by Shravikas: Muni Punyavijayji emphasizes the rarity of manuscripts written by female ascetics (Sadhvis) and laywomen (Shravikas). He mentions a rare palm-leaf manuscript of the Avashyakavrutti by Malayagiri written by Shravika Rupade, which he saw in the Meurta repository but is no longer there. The only extant ancient example he mentions is from the Shantinath Bhandar in Khambhat.

Types of Repositories and Their Ownership:

Parallel to Libraries: Gyanbhandaros in the past held the same significance as modern libraries.
Two Main Types:
- Personal Ownership: Predominantly found in the Vedic tradition, associated with Brahmins who, as householders, possessed family and possessions. Collections from Gujarat, Rajasthan, Uttar Pradesh, Bihar, Bengal, Mithila, and South India are often privately owned.
- Communal Ownership: Common in the monastic (Bhikshu/Shraman) traditions like Buddhism and Jainism. Monks, adhering to principles of non-possession, create or conserve collections that belong to the community. Even if an Acharya was prominent, the repository was considered communal.
Buddhist Repositories: While many Buddhist monasteries in India are gone, their collections were dispersed to neighboring countries like Nepal, Tibet, China, Sri Lanka, and Burma.
Jain Repositories: Jain monks generally remained within India, so their collections are predominantly found there, from the south (Karnataka, Andhra, Tamil) to the north (Punjab, UP) and east (Bengal, Bihar) to west (Kutch, Saurashtra). These were established with communal ownership, benefiting from the collective support of the community, leading to their significant growth and preservation despite intervening adversies.

Examples of Repository Preservation:

Relocation: During periods of unrest in places like Patan and Khambhat, valuable manuscripts were moved to safer locations like Jaisalmer. Conversely, in stable regions like Karnataka, Digambar repositories continued uninterrupted.

Personal Experience and Scope:

Muni Punyavijayji has extensive experience with Jain repositories, having visited at least 500 cities and towns and worked in about 50 repositories.
He states that there is an immense amount of material available for scholars interested in the editing and study of ancient and medieval Vedic, Buddhist, and Jain scriptures.

Classification of Jain Repositories:

Sects: Jain repositories are associated with Shvetambara, Digambara, Sthanakvasi, and Terapanthi sects.
Shvetambara Repositories: Muni Punyavijayji highlights the significant importance of many Shvetambara repositories in terms of subject diversity, language variety, number of texts, antiquity, size, types, ornamentation, and the inclusion of rare or valuable non-Jain texts.

Materials and Writing Implements:

Writing Materials: Palm-leaf, paper, and cloth.
- Palm-leaf: Dates from the 9th to the 16th century Vikram Samvat.
- Paper: Found from the early 13th century Vikram Samvat onwards. While some ancient paper from Kugiyar in Central Asia dates to the 5th century CE, no such old paper manuscripts have been found in Jain repositories. The continuous process of copying led to the preservation of content from earlier centuries.
Ink: Special inks were used for writing. 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 ink has remained stable and does not damage the manuscripts.
Colors: Various mineral and botanical substances were used to create colors for illustrations, carefully mixed to prevent damage to the manuscripts.
Pens (Lekhni): Pens were made from reeds and bamboo, with specific types preferred for their straightness and strength. Ancient texts detail the preparation and cutting of pens.
Inkwells (Dawat): Various types of inkwells were used, made of glass, pottery, and metal. Metal ones were likely preferred for durability.
Ruling Instruments (Olia/Phantia): Used to draw straight lines on manuscripts. Initially, the first line was drawn with ink as a guide. Later, the "Olia" was invented, consisting of thin strips of cardboard or wood with parallel holes and thread, used to create straight guidelines.
Drawing Instruments: "Jujval" (a plier-like tool) was used for drawing straight lines, and "Prakar" (compass) for drawing circles.

Scripts and Scribes:

Jain Scripts: While a distinct "Jain script" is sometimes mentioned, it's argued that most scripts evolved from Brahmi. Variations in Jain scripts are due to writing styles, regional influences, and contact with other scripts.
Scribes (Lahiya): Writers belonged to various castes (Kayasth, Brahmin) and often passed down the profession through generations. They were skilled in reading ancient scripts and paid attention to the form and beauty of writing. Their styles varied, with some writing elongated, others flat, and some round.
Scribe Superstitions and Practices: Scribes had unique beliefs about when to stop writing. They also engaged in practices to hinder rivals. Some preferred to write with the manuscript board vertical, while others wrote horizontally. Kashmiri scribes were adept at writing without any support.
Jain Monks and Laypeople as Writers: Besides professional scribes, Jain monks, nuns, and lay followers also wrote scriptures with skilled calligraphy.

Types of Books and Their Classification:

Early Classifications: Based on size and form (e.g., Gandipustak, Mushtipustak).
Later Classifications (from 15th century): Based on writing styles (e.g., Shud, Dwipath, Tripath, Panchpath, Sastabak).
Chitraputrak (Illustrated Books): Books where blank spaces are strategically left in the writing to form geometric shapes or figures, or where specific letters are written in a different color to create pictorial designs. This also includes "Ankshtan Chitrapustak" where numbers are replaced by pictures.

Manuscript Restoration and Preservation:

Tools for Correction: Harital (orpiment), Safeda (white lead) were used to erase or alter incorrect letters. Red pigment and threads were used to mark specific sections.
Correction Techniques: On palm-leaf manuscripts, excess letters were sometimes erased with water, or their shapes were altered. Sections were also marked with red pigment. With the advent of paper, Harital and Safeda became more common for corrections.
Manuscript Protection:
- Strips (Kambika): Wooden strips were used as reading aids to keep fingers clean and prevent pages from turning or being damaged.
- Covers, Boards, and Boxes: Cloth covers, wooden or cardboard boards ("Pathe"), and boxes were used to protect manuscripts from moisture, heat, and insects. These were often decorated.
- Safe Storage: Repositories needed to be in safe and secure locations. Jaisalmer fort's temple basement is cited as an exemplary safe and hidden location, protected from environmental factors and pests for six hundred years, possibly due to chemical treatments applied by ancient artisans.
- Storage Furniture: Large wooden or stone chests ("Majusa") and shelves were used. Chests were favored for their sturdiness and portability.

The Significance of Gyanpanchami:

Festival for Manuscript Care: Gyanpanchami (Kartik Shukla Panchami) is a religious festival dedicated to the care and preservation of manuscripts.
Purpose: To counter the adverse effects of seasonal changes (cold, heat, moisture) on scriptures by rearranging and airing them.
Original Intent vs. Current Practice: The original purpose was the preservation of texts through collective effort, but over time, the focus has shifted to outward display and ritualistic activities.

Content of the Repositories:

Broad Scope: Although collected by Jains, these repositories are not limited to Jain scriptures. They contain a vast collection of works covering various fields of knowledge.
Languages: Sanskrit, Prakrit, Apabhramsa, Gujarati, Hindi, Marathi, Persian, etc.
Subjects: Dharmashastras, grammar, lexicons, prosody, rhetoric, mantras, tantras, rituals, drama, astrology, physiognomy, Ayurveda, philosophy, biographies, and Ras literature, etc.
Non-Jain Texts: They also include important works by Vedic and Buddhist scholars.
Artistic Value: The manuscripts are beautifully illustrated with intricate designs, depicting animals, nature, and historical events.
Dedication: Jains have invested significant effort and wealth in collecting and preserving these vast knowledge treasures.

Conclusion:

Muni Punyavijayji concludes by expressing his earnest hope that those who examine these vast and diverse literary treasures will make effective use of them. The text serves as a testament to the rich intellectual and artistic heritage preserved within Jain knowledge repositories.