Hansrajposal Dhulbandh

Here is a comprehensive summary of the Jain text "Hansrajposal Dhulbandh" by Munisuyashchandravijay and Sujaschandravijay, based on the provided pages:

Introduction to Gandhar and its Historical Significance:

The book begins by introducing Gandhar, a village located about 26 km from Bharuch, situated by the sea. Historically, Gandhar was a prominent port town with significant trade activity, attracting merchants from both within the country and abroad. Its prosperity, however, also made it a target of external forces. The text cites a historical record indicating that in the years 769-770 CE, the Governor of Sindh, Hasm bin Amru Taghlakhi, arrived by sea, destroyed idols, and converted temples into mosques. This highlights the ancient and potentially tumultuous history of Gandhar. The text also mentions that the revered Jagadguru Hiravijaysuriji Maharaj Saheb spent his Chaturmas (a period of four months of religious retreat) in Gandhar with his large monastic community, further underscoring the town's importance. Archaeological remains found in the surrounding areas serve as evidence of Gandhar's ancient past.

Temples in Gandhar:

The text then discusses the temples that existed in Gandhar. It mentions two to four ancient Jain temples. Specifically, it refers to:

1. Shri Mahavir Swami Bhagwan's Temple: An inscription suggests that the wooden structure of this temple was built around the year 1500 CE. A renovation of this temple was undertaken in 1810 CE by Harkoibai, the wife of Hathisinh Kesarisinh.
2. Amizhara Parshwanath Bhagwan's Temple: The text notes that the exact origins of this temple are not clearly documented.

A poetic work titled "Vijaydev Mahatmya" from 1643 CE records the installation ceremony of Shri Virprabhu's temple performed by Indrji Shravak under the guidance of Pujya Vijaydev Suriji. However, the text points out that there is no available record of a temple built by the Rajiya and Vajiya Shravaks of Khambat for Virprabhu.

Gandhar's Temple Succession (Chaityaparipati):

In 1919 CE, Pujya Hukum Muniji of Bharuch led a religious procession (sangh) to Gandhar. During this time, he composed a work called "Gandhar Nagar-Chaityaparipati." This document records Shri Virprabhu's temple as the primary temple of the village. It details the presence of 36 Jinabimbas (images of Jinas) made of Arsenic in the main sanctuary, along with 7 metal images. In the Rangmandap (assembly hall), there were 52 images in total (6 and 7 in different sections). After this, the procession visited the Amizhara Parshwanath temple located outside the village. This information suggests that by 1919 CE, Virprabhu's temple was centrally located in the village. It is then hypothesized that as the village expanded, it may have moved towards the Amizhara Parshwanath temple, and the idols from the now deserted Virprabhu temple might have been relocated. The text advocates for further research to illuminate these events.

Upaashray (Monastic Residence) in Gandhar:

The text mentions a wall located near a seemingly empty temple in Gandhar, which is known as the wall of the Upaashray of Hir Suri Maharaj Saheb. This indicates that Hir Suri Maharaj Saheb had spent his Chaturmas there, confirming the existence of an ancient Upaashray in Gandhar. It is suggested that only this part might have survived the ravages of time.

Introduction to the Work "Hansrajposal Dhulbandh":

The present work, "Hansrajposal Dhulbandh," provides historical information regarding the Upaashray of the Gandhar Shri Sangh. It focuses on questions such as who commissioned the Upaashray and who performed the first Chaturmas there.

Summary of the Work:

The poem begins with salutations to Virprabhu's lotus feet and, in the first three verses, describes the Shravaks of Gandhar. Subsequently, it details the Sangh's desire to build a Paushadhshala (a hall for religious observances) and praises the virtues of the Sanghapati (leader of the procession) Hansraj. It then describes the preparations for building the Paushadhshala. The narrative highlights how Hansraj, understanding the implications of the "Kadi" (possibly a prohibition or tax, here translated as 'Kaji' in the original), proceeded with the construction without fear for his life, even meeting with the "Khan Kshitipati" (a local ruler). From the 11th verse onwards, the poet describes the architecture and carvings of the Paushadhshala. The concluding verses mention the invitation of Shri Udaydharma, a disciple of Shri Ratnasinh Suri of the Vriddhatapagachchha, to perform the first Chaturmas in the completed Upaashray. The poet concludes by bowing to Virprabhu and remembering his gurus, seeking to attain the "seed of enlightenment."

Information about the Author:

The author of this work is Mukund, a disciple of Udaydharma Gani, who was himself a disciple of Ratnasinh Suri of the Vriddhatapagachchha branch. Udaydharma was a learned scholar who created commentaries on "Vakyaprakash" and the 51st verse of "Upadeshmaal" in 1507 CE. He also authored other works like "Mahavirswami Stotra" and "Upadeshmaalakathanakachhappa." Little is known about the disciple Mukund, except for another work of his titled "Sa. Bhavlakshmi Dhul," which has been published previously.

Musical and Poetic Style:

The poet has employed the "Dhul-Dhaval" poetic style and chosen musical "Ragas" such as Desakh, Kukkubhi [Dhul], Rakthansa [Dhul], and Dhanaasi (Dhanyasi). The text specifically raises a question for research regarding the specific structure and performance of the Ragas Kukkubhi [Dhul] and Rakthansa [Dhul].

Unique Poetic Structure:

The poet has composed five lines in the 11th verse. The text speculates whether this is a deliberate poetic structure or if a line is missing. However, given that the author has used a similar five-line structure in another work, it is considered likely to be an intentional five-line poetic form.

Source of the Manuscript:

The manuscript of this work was obtained from the collection of handwritten manuscripts at the Shri Sahitya Mandir Upaashray in Palitana. The authors express their gratitude to Muniraj Jaybhadravijayji Maharaj Saheb and the management of Sahitya Mandir for providing the manuscript.

Glossary: The final section provides a glossary of Gujarati words used in the text, explaining their meaning and context. This aids in understanding the nuances of the poem.